The After Factory 2/16/26

A dynamic 1990s decade-spanning medley, Genre-fluid transitions including: 1991 Eurodance/Techno with Roland TR-909 beats; 1992 West Coast Hip-Hop with heavy analog bass and funk samples; 1993 Grunge with loud-quiet dynamics and heavy distortion; 1994 Britpop featuring jangly guitars and melodic vocals; and 1994 Soulful Diva R&B, High-fidelity production, nostalgic aesthetic, male and female vocal layering, seamless tempo shifts between sections

cats & thunderstorm & whales sample collage, whale song, heavy use of thunder, thunderstorms, rain drones, micro samples, chops looped back in vintage fm style, ambient lo-fi, samples, plunderphonics, pogo-esque, with cute kittens meowing in harmonies, chill, relaxing, cats mewing, thunder and rain, and whales talking to cats, and cats talking to whales, and storms talking with cats and whales

minimal synth, single voice, female vocal, hypnotic, loop-based, cold, metronomic, post-punk, krautwerk repetition, one chord, building tension, no drums first half, kick drum enters midway, industrial, mantric, obsessive, claustrophobic, close mic, dry vocal, 80 bpm, no chorus, no resolution

bass trap, UK garage groove

VOX1-Male;[CB8-ENCODER:(Bose 3d surround panning and positioning crossover matrix algorithms apply all elements)];Gothic; Goth rock; Post‑punk; Darkwave; Coldwave; Shoegaze; Deathrock; Art‑rock; Experimental; Industrial, Compact sonic/instrumentation cues: minor/modal tonalities; sustained, close‑voiced chords; heavy distorted/chorused guitars with dense reverb; low, melodic bass ostinatos; tom‑forward, tribal drums with compression and distant room mics; analog/dark synth pads and treated keys; feedback layering, long decays, saturation and midrange emphasis; sparse lead lines; vocal low in mix, breathy and haunted; tempo slow–moderate; stereo panning for cavernous width; use gated reverb, plate reverb, tape saturation, and subtle flange/chorus on ambient elements

Long-form (7–8 minute) dark live performance art punk/prog rock piece built around a pre-recorded female Japanese alto lead (Br33zy voice), Vocal is primary and must stay raw and dominant, Instrumentation: jagged electric guitar (scraping, tension riffs), heavy hypnotic bass pulse, and physical taiko drums (ritual, grounded, non-epic), No orchestra, no cinematic strings, no polish, Structure is nonlinear and tension-driven, Shifts between false calm, interrogation, confinement, rupture, and abrupt cut-off, Vocals: layered versions of the same female alto—some dry and intimate, some slightly delayed or ghostly echoed, some whispering or mumbling beneath the main line, Occasional half-beat overlaps and low murmur textures, Never lush harmonies, Never choir, Space must remain for spoken and shouted lines, Production: one-room feel, hazy, claustrophobic, breath and imperfections preserved, End in hard silence

The dark synth pop instrumental opens with atmospheric pads and a pulsing bass synth, Verses ride a steady 128 BPM with a driving 4/4 kick, snare on 2/4, crisp hi-hats, and sparse motif layers, Synthwave leads introduce emotive melodies, pushing into harmonic-shifting choruses, Lush reverbs and a looping four-chord progression add spaciousness, while synths remain cleanly separated in the mix, emphasizing dynamic energy flows section to section, Male vocals with a deep baritone tone and an Oklahoma Accent pairs with vocal fx, vocal stacks, vocal delays and reverb

Female lead vocal, melodic yet confrontational, shifts from soft vulnerability to venomous sneer, gritty resonance with natural rasp, controlled throat distortion, occasional cracked edge under strain, shouted accents with raw vocal fry, intimate close-mic verses, explosive unfiltered power in choruses, expressive melisma on held notes, whispered seductive tone in breakdown, gang-shouted backing vocals pre-final chorus, Aggressive alternative punk rock, dark, confessional, loud-quiet dynamics, volatile emotional arc, Lead guitar high-gain and cutting, screaming signature lick with whammy dives and sustained bends, recurring motif, Rhythm guitar percussive down-strokes, palm-muted verses opening into wide choruses, Twin bass guitars, thick distorted low-end, wide-panned, driving tension, Drums focused on kick and toms, minimal cymbal use except where stated, half-time breakdown feel, explosive fills into choruses, Raw modern production, wide stereo image, unapologetic

A deep-house darkwave EDM hybrid driven by a pulsing 808 and relentless 4/4 groove, layered with crisp hi-hats, metallic synth stabs, and glitch effects, Arpeggiated synths and pads swell in filtered waves, while reverb-laden female vocalizations float above, Male lo-fi, airplane-style spoken word frames the track, with vocal chops and distorted, belted hooks intensifying over sidechained bass and distorted syncopated percussion, Urgent arpeggios and airy risers create tension, locking all elements in a hypnotic, brooding atmosphere pulsing at 120–128 BPM

Modern prestige trance production with sustained rhythmic propulsion, 136 BPM forward-driving energy, syncopated rubber bass architecture with tight mono sub control, disciplined four-on-the-floor groove, crisp backbeat claps and shimmering sixteenth hi-hats, subtle low-frequency sidechain pumping only, extended phrase development beyond simple two-bar loops, granular pad pulse atmosphere, subconscious low-octave arpeggio tension layer, harmonic darkening under compression, ritualistic vocaloid command moment, glassy wavetable morph lead with smooth transient edges and reduced midrange bite, low-pass supersaw pad warmth for harmonic support, refined stereo imaging with intentional narrowing before drop, cinematic restraint without overused risers, professional festival-ready spectral clarity, confident opening-act runway design with dynamic headroom preserved, ‑psy-trance rolling basslines, ‑aggressive acid resonance, ‑repetitive chopped vocal loops, ‑bright percussive square wave leads, ‑fried pulse lead timbre, ‑festival big-room drop structure, ‑hard techno rumble kick, ‑over-layered supersaw stacks, ‑excessive white noise risers, ‑constant filter sweep builds, ‑trap hi-hats, ‑dubstep wobble bass, ‑glitch artifacts, ‑cinematic trailer brass scoring, ‑orchestral bombast, ‑singalong anthem melodies, ‑over-compressed master limiting, ‑extreme sidechain pumping, ‑distorted sub-bass saturation

female vocal, half-sung half-spoken, shifting delivery, flat then desperate, synth-pop, dark pop, seductive, cold, single voice two registers, analog synth, pulsing bass, notification sounds, mechanical rhythm, 82 bpm, close mic, dry vocal, love song structure, building repetition, obsessive, climactic final section, mantric, post-punk, no guitar, electronic, late night, compulsive, 4/4 kick steady

Modern Outlaw Country, Gritty Baritone Male Vocals, Authentic Southern Drawl, Heavy Stomp-and-Clap Rhythm, Dirty Slide Guitar, Defiant Fiddle, Rustic Southern Rock Anthemic Vibe, Raw Acoustic Guitar, Mid-tempo High Energy

This mid-tempo (90–100 BPM) alternative rock/dark pop track unfolds in a minor key with a subtle swing groove, Verses feature chorus-drenched clean guitar and muted chugs, supported by deep, rounded bass and gated, intimate drums, Analog synth pads and faint organ/piano stabs deepen the shadowy layers, Choruses swell with controlled distorted guitars, tension intact, and lush falsetto/whispered vocal ad-libs spread wide, while symphonic metal elements inject cinematic string swells and choir textures, Tape-delayed spoken bits, reverse reverb swells, and discrete risers guide transitions; guitar harmonics and vocal effects weave across the stereo field, the track dissolving in delicate, trailing delays, ‑Exclude modern pop, ‑exclude trap, ‑exclude EDM and electronic drops, ‑exclude dubstep, ‑exclude hyperpop, ‑exclude rap or hip-hop vocals, ‑exclude aggressive screaming, ‑exclude metal, ‑exclude punk tempo or energy, ‑exclude lo-fi aesthetics, ‑exclude bedroom pop, ‑exclude glossy modern production, ‑exclude auto-tune artifacts, ‑exclude comedic or ironic delivery, ‑exclude explicit sexual language, ‑exclude major-key brightness, ‑exclude modern viral hook construction