Wild Stuff

ap, Aggressive, Party, female vocals

Brutal dystopian industrial techno / dark EBM, Tempo ~80-85 BPM, 4/4, heavy pounding kick, Constant metallic hammer-on-anvil hit in the background, like a forge or a steel workshop, relentless through the whole track, Deep, distorted synth bass, harsh noise textures, mechanical hi-hats, grinding machine loops, Minimal melody, focus on rhythm, impact and texture, Long instrumental intro with drums, bass and hammer-on-anvil sound slowly growing louder and distorted, Overall sound feels like a night shift in a steel factory: claustrophobic, loud, dirty, oppressive, Huge, cold reverb like a gigantic metal hall, subtle delay, aggressive compression, sidechain pumping, Sparse male vocals, short phrases, half-spoken and half-shouted, Simple language, fragmented thoughts, more anger and exhaustion than poetry, Chorus more like a brutal chant or slogan, Keep long instrumental sections & extended instrumental outro with the hammer-on-anvil hit slowly fading into the distance, no early stop

Dark alternative rock / cinematic industrial rock, deep sub-bass, mid-tempo (110–120 BPM), heavy distorted guitars, punchy drums, ambient pads, Sonar beeps as rhythmic motif, tense verses building into explosive choruses, Rough, slightly hoarse male rock vocal, not smooth or pop, Broken phrasing, delayed entries, sudden pauses, some words half-spoken, half-screamed, Performance should feel like angry desperation and emotional collapse, imperfect and raw, with breaths and grit left in, More restrained in the first verse, then increasingly intense, aggressive belting towards the final chorus, Instruments: electric guitars (clean + high gain), deep bass guitar + sub, acoustic + electronic drums, ambient synth pads, sonar ping SFX, reverse reverb swells, noisy feedback in the bridge, Production: wide stereo guitars, sidechained sub-bass, big drum room, subtle tape saturation, dark cinematic atmosphere with a claustrophobic, underwater feel

80s hard rock, arena-ready, electric guitar-driven, Les Paul humbuckers into a loud British JCM800 2203 + 4x12, SD-1 boost for tight attack and upper-mid bite, subtle compressor for sustain, noise gate for tight stops, occasional Cry Baby wah, Crunchy power-chord riffs, snappy palm-mutes, wide stereo doubles, warm low-mids + crisp presence, Singing pentatonic lead lines, pinch harmonics, wide vibrato, big bends, short hooky solos, Big 80s drum sound: punchy kick, snare crack with gated/room reverb, energetic fills, Tight forward bass with gritty pick edge, Male vocals: bold raspy 80s frontman, strong hooks, gang-style backing shouts in chorus, Loud analog gloss, moderate saturation, wide mix, no modern metal polish

Jangle pop / dreamy folk-rock, 118 bpm, key D mixolydian, 4/4, Bright jangly 12-string guitar riff + rhythmic strum wall, wide stereo with gentle compression, Tight punchy drums, warm electric bass, Tambourine on choruses, Subtle low synth pad, Minimal clean electric guitar accents, Cool intimate verses, big open choruses with stacked harmonies and airy ‘oohs’, Modern pop clarity, Energetic outro, ~4:00, ” Instrumental base is ~2:00; extend to ~4:00 by repeating A/B sections with variation: add pre-chorus lift, half-time bridge, and final double-chorus + outro vamp, Please loop the instrumental foundation and create new transitions to reach ~4 minutes

High-energy industrial metal track characterized by aggressive, distorted electric guitars and a driving electronic percussion section, The song features a mid-to-fast tempo with a heavy 4/4 beat, utilizing syncopated riffs and metallic sound effects, The vocals are a mix of gritty, shouted delivery and melodic, anthemic choruses, processed with slight distortion and reverb, The arrangement follows a standard structure of verses, choruses, and a bridge, with a notable breakdown featuring mechanical sound design, The production is dense and polished, emphasizing a cold, futuristic atmosphere with prominent bass and sharp, cutting snare hits

A high-energy synth-pop / future bass fusion track at 128–130 BPM in G minor, bright but razor-edged, Prominent syncopated saw/Reese bassline with subtle distortion/saturation and tight sidechain pumping, Shimmering arpeggiated synths, glassy plucks, and staccato lead stabs with occasional glitch flickers, Drums: crisp electronic kit with heavy four-on-the-floor kick, snappy backbeat snare/clap, rapid hi-hats, short rolls, and aggressive fills; add light industrial percussion layers (metal ticks, gated noise) for bite, Vocal: processed male tenor with heavy pitch correction, stacked harmonies, vocal chops and rhythmic phrasing; occasional whispered doubles, Arrangement: tense verses → escalating pre-chorus → high-intensity drop where melody becomes rhythmic and punchy; include a short breakdown and final bigger drop, Production: tight low-end, transient shaping, stereo widening on tops, lush but controlled reverb, delays that duck with sidechain, occasional tape-stop/glitch transitions

Start: Solo Pipe-Organ in E minor, BWV/Bach-like counterpoint, sparse tones, no drums/grooves, dry/intimate, 70–80 BPM, cold melancholy, Countertenor enters after first organ sigh; straight tone, minimal vibrato, long phrases, lots of air, Orgel-Outro thins to near-silence, After ~1:42: 2 sec full silence, Then hard cut/drop into Industrial Metal: 4/4, 140–160 BPM, heavy downtuned distorted guitars, syncopated riffs, palm-mutes, sub-bass pulse, Electronic percussion: machine kicks, metallic clanks, gated noise, glitch/stutter fills, impact hits, factory ambience, Vocals: screamed verses (dry/close, slight overdrive) + melodic anthemic choruses (wider, more reverb, light distortion/doubles), optional gang shouts on last lines, Bridge: half-time breakdown + 1-beat stop, Final chorus bigger; outro strips layers to detuned sustain + fading industrial hiss, last seconds near-silent

A high-energy, cinematic hybrid orchestral track featuring a blend of traditional symphonic elements and modern electronic production, The composition is driven by a fast-paced, staccato string section playing rhythmic ostinatos in a minor key, creating a sense of urgency and suspense, Heavy, distorted synth bass and industrial percussion hits provide a gritty, aggressive foundation, The arrangement features dramatic crescendos, sharp orchestral stabs, and a pulsing electronic beat that maintains a tempo of approximately 140 BPM, High-pitched violin flourishes and brass swells add layers of tension, while the overall mix is polished with a wide stereo field and significant reverb on the percussion to enhance the epic, cinematic scale

Dark cinematic melodic metal + gothic orchestral haze (not epic/heroic), Slow–mid 4/4, steady pulse, Aeolian key locked (one tonal center), Simple roots/powerchords + occasional sus2/sus4; dissonance brief + resolves; no modulations, no jazzy subs, Downtuned guitars: restrained pulse riffs, minimal notes, long sustains, tight palm-mute; no shred/solos, Orchestral: low string drones, sparse inner motion, distant choir vowels only, bowed metal/harp harmonics; bells very rare, Swells slow/low, never trailer drops, Bass sub undertow ostinato, sparse, locked to kick, Drums: ritual toms + muted kick + tight snare; cymbals minimal, short/dark, no wash, Wind + granular fog low/consistent (no glitch bursts), Vocals: low breathy baritone, intimate; narrow-range, stepwise motifs; chorus slightly fuller but fragile, Long instrumental gaps, smooth transitions, Mix: clean hi-fi depth, dark top-end, vocals forward; tame upper mids, de-ess; no clipping/harsh highs; controlled reverb tails

A high-energy industrial pop track blending aggressive electronic textures with a driving rock foundation, The song features a female vocalist with a gritty, processed delivery, utilizing distortion and reverb for a futuristic feel, The instrumentation is dominated by distorted synthesizer basslines, sharp electronic percussion, and heavy electric guitar riffs that enter during the chorus, The tempo is a steady 120 BPM in the key of C minor, The structure follows a standard verse-pre-chorus-chorus format, with the verses characterized by sparse, rhythmic synth pulses and the choruses exploding into a wall of sound with layered vocal harmonies and crashing cymbals, Production is polished and dense, featuring glitch effects, white noise sweeps, and side-chain compression to create a pumping rhythmic effect

Industrial bass / doomstep halftime, 70–80 BPM (or 140–160 halftime feel), Long intro (20–40s) guided by the audio template: let the original motor/room tone and industrial ambience establish the track before vocals, Sparse kick/snare enters late, sub-bass swells slowly, Wide, cold mix, lots of negative space, Sound design: hydraulic breaths, servo whines, grinding belts, distant alarms; occasional “machine scream” stabs, Include hard silence-drops for spoken lines, Vocals: exhausted male, breathy/fragile, close-mic; short phrases, long rests, Include one raw human scream at a silence-drop (no heroic vibe, no uplift)

Dark downtuned doom-blues rock, slow heavy shuffle 4/4 at ~85 BPM, Drop C/Drop D guitars, swampy minor blues riffs with space between hits, Drums: stomping, big kick/snare, sparse cymbals, Bass: thick, droning, Vocals: Southern gritty male blues; frequent short “blues howls / yelps” as call-and-response punctuation (1–2 beats), not constant screaming; spoken ad-libs between lines, Mix: dark, saturated, live-room feel

late-60s / early-70s blues rock with wild unchained female lead vocal (raspy, fearless, big dynamic swings, bluesy wails + ad-libs), 4/4, 90 BPM, ONLY instruments: drums, overdriven electric guitar (riff + fills + extended solo climax), Rhodes electric piano (smoky chord bed, syncopated stabs), Hammond organ (pads + swells + call/response stabs), Dramatic long build: restrained tense verses → bigger choruses → sparse ominous bridge → long rising instrumental build into feral guitar-solo climax → final chorus explosion → tight stop, Raw analog saturation, live-room feel but controlled, clear midrange, controlled highs, DRUMS: dry close-mic kit, minimal cymbal use (rare crash accents only), mostly closed hi-hat or no hats, no continuous ride, emphasize kick/snare/toms, short tom fills, tight gating/short decay, low overhead level, no cymbal wash