腐り逝くもの、切り捨てる本性

This is a Japanese rock song with a female vocalist, featuring a driving rhythm section and prominent guitar melodies, The song is in a minor key, likely A minor, and maintains a moderate to fast tempo throughout, The instrumentation includes electric guitar, bass guitar, drums, and a synthesizer providing atmospheric pads and occasional melodic fills, The electric guitar plays both rhythmic power chords and melodic lead lines, often with a clean or slightly overdriven tone, The bass provides a solid foundation with a consistent eighth-note pattern, The drums feature a standard rock beat with a strong backbeat on the snare, The female vocalist has a clear, emotive voice, utilizing both sustained notes and more rapid-fire delivery, Production elements include reverb on the vocals and guitars, creating a spacious sound, The song structure follows a typical verse-chorus format with a bridge and an instrumental break, The melody is memorable and often features a call-and-response dynamic between the vocals and the lead guitar

A fast 175 BPM dramatic rock track with soaring emotional choruses, sharp double-kick drums, and bright melodic guitar leads, Soft-raspy feminine head-voice vocals: intimate and breathy in the verses, then rising into powerful cracked head-voice belts in the chorus, Verse 1 feels restrained with half-time drums and atmospheric pads; tension builds through the English lines with subtle digital glitch textures, The first chorus opens wide with uplifting chords, long open-vowel sustains, and shimmering harmonies, Add a heroic guitar solo section with synth accents before the bridge, The bridge drops to palm-muted guitars, low toms, and whisper-to-belt dynamics, then surges into a dramatic, explosive reprise chorus with octave vocals, intense double-kick runs, and an emotional peak, End with a soft, airy outro featuring clean guitar and warm ambient pads

Japanese female vocals - soft-raspy, lilting, slightly slurred voice, Japanese lines should be intimate and half-sung; English lines bold and declarative, Build a dark alt-rock / post-rock arrangement with wailing bent guitars that cry like a looming monster, Use heavy stomp-clap bass hits like giant footsteps, Add backwards fiddle swells and reversed bow textures for eerie movement, plus organic glitch accents on the “bad data” lines, Keep the atmosphere stormy, ritualistic, cinematic, No pop, EDM, trap, or synthwave, Use ghost-double vocals, reverb haze, and breathy whispers for emotional depth, Let the English sections expand wide and the Japanese lines contract into fragile, haunted intimacy, The final mix should feel alive, shadowed, immense, and emotionally overwhelming, Heavy heavy bass stomp, Heavy Heavy Guitar Thump, Thick strings

dark emotional j-rock with a strange, tactile atmosphere, song in c♯ minor, blooming into e major then returning to c♯ minor, female japanese vocal: soft, raspy, lilting, slightly slurred, intimate in verses but able to belt with power in every chorus, guitars drive the lift: wide open chords, shimmering harmonics, pick scrapes, behind-the-nut slides, bass warm and deep; drums minimal but dynamic with tom swells and airy cymbals, atmosphere from bowed metal, ceramic bowl hits, water ripple, breath on strings, wood creak, amp hum, steel-bucket strike, room tail, absolutely no piano or keys, chorus 2 must reuse the melodic contour, rhythm, and phrasing of chorus 1; at the modulation to e major only shift the tonal center, do not change the melody, the final chorus in c♯ minor must keep the same contour and be the strongest, most intense vocal peak, not a soft resolution

a minor acoustic-driven j-rock alt-rock ballad with rolling forward momentum, but delivered fully sung with no rap cadence and no rushed phrasing, bright, tight, percussive acoustic strumming drives the rhythm—no folk, no country, no americana—supported by melodic, emotional post-punk bass and clean electric guitar with light chorus, drums are rock-steady, crisp snare and driving kick, with zero hip-hop or spoken-word influence, overall mood is urgent, confessional, romantic, and slightly doomed, but always melodic, vocals: soft-raspy feminine rock voice, breathy yet strong, expressive, legato, never rapped or sped through, phrasing must stay musical and emotional, runtime-error section widens the mix with reverse-reverb swells, subtle glitch textures, and a controlled emotional break without electronic harshness, ‑pop, ‑rap, ‑hiphop, ‑glitch, ‑country, ‑alt country

A slow, languid Japanese rock ballad at ~74 BPM with a sprawling psychedelic atmosphere over a clean band core, Electric guitar stays clear: small-amp tremolo in verses, mild overdrive in choruses, Bass is melodic and forward, Drums are tight, dry, steady, Surround the band with subtle psychedelic texture: wide stereo swirls, reversed-guitar whispers, drifting echoes—spacious but not hazy, no shoegaze, no pads, Vocals are intimate, close, emotional, bilingual, Absolutely no swing, no lilt, no upbeat phrasing, No sing-song cadence, Vocals must be straight, flat, languid, restrained, almost spoken at times, Verses stay sparse; choruses widen with controlled psychedelic lift; Japanese bridge deepens the space while staying grounded, No generic hiphop flow, ‑shoegaze, ‑country, ‑rap, ‑soul, ‑urban, ‑hiphop

A fast, high-tension v-kei punk track in E minor around 188 BPM, Guitars have a thin, bright, glassy edge, like clean tones driven into sharp distortion: lots of tremolo-picked runs, octave slides, and tight mute/unmute stabs, with a slight chorus shimmer that makes the chords feel metallic and sliced, Bass is melodic, busy, and forward in the mix with a clear pick attack, constant movement, and singing runs that jump octaves instead of sitting on roots, Drums stay in tight double-time with crisp snare cracks and rapid hi-hats, Vocals: a feminine rasp—breathy in verses, sly and dangerous in the pre-chorus, then shouted Japanese choruses with brattish bite and clipped edges, Add brief static bursts or glitch hits before drops and a tiny robotic vocoder flicker before the final chorus, Mix should feel bright, compressed, and electric, like everything is about to catch fire, ‑pop, ‑rap, ‑hiphop, ‑glitch, ‑country, ‑alt country

A-minor neo-Japanesque Japanese rock with mandatory traditional instruments, Koto must be the primary rhythm: sharp staccato plucks in verses, trembling swells in choruses, always audible, Shakuhachi must appear as short, cold breath accents, Taiko and kodo must give deep, restrained downbeats with tight tension fills, Bass is galloping, slightly overdriven, Guitars are modern J-rock: palm-muted in verses, wide delayed chords in choruses, Atmosphere: subtle winter-wind texture, Vocals: feminine, lilting, light, breath-led but NOT airy; soft pitch sway on short phrases; clear consonants, short vowels, no vibrato, no melisma, no long holds, Mix is clean and cold: vocals forward, minimal reverb; koto left, shakuhachi right, drums centered, Keep strictly in A minor with brief Phrygian color, If koto, shakuhachi, taiko, or kodo are missing, regenerate

DOLBY AUDIO, professional audiophile production: Emotional Japanese pop-rock with real heartbeat, Clean electric guitar riffs, warm solid drums, deep bass groove, and strong winter atmosphere, Add Japanese elements throughout: koto motifs weaving under the vocals, light taiko-style low percussion pulses, shime-daiko snap accents, and shakuhachi breaths in transitions, Keep the vocals expressive and human with natural space: emotional, clear, youthful, human, The chorus should rise with feeling but stay winter-soft, After the last sung line, continue with a long instrumental section using koto, guitar, drums, and bass, End with a quiet, fading winter outro

gritty japanese alt-rock, bpm 118, key a minor, long instrumental intro (8–16 bars): dry tremolo guitar (4, 2 hz) panned L; second guitar enters R with dry dual-mono widening (NO shimmer); warm p-bass at bar 9; rim-click percussion at bar 13, no synth pads or sparkle, vocals: br33zy, a japanese girl in her 20s with a soft, lilting, tired-but-strong tone, close-miked, intimate, no cute inflections, no idol gloss, light compression, dry verses, slight plate reverb (12%) in choruses, verses: mild overdrive guitar, rim clicks, warm bass -12db, chorus 1: full kit (soft snare, dampened kick), widened guitars, faint erhu “memory” bends, verse 2: drums drop, clean guitar + faint chorus pedal, verse 3: rim taps return, warmer overdrive, pre-break: thin instrumentation, tremolo up, tape warble, big chorus: full explosion, heavy overdrive, saturated bass, erhu cries, final bloom: clean open guitars, soft drums, warm erhu; analog, midrange-forward, no bright highs

Intimate, acoustic, unpolished closing track sung by a Japanese girl, Solo nylon or deadened steel-string guitar, extremely close-mic’d, warm, imperfect, with fret noise and natural room tone, No drums, no shimmer, no synths, no modern pop polish, Vocals soft, weary, confessional, almost whispered, with honest breaths and slight pitch fall-offs, Real room reverb only, Sparse, folky, documentary-like atmosphere, The Japanese coda should feel fragile and ghostlike, as if a memory resurfacing, Ending transitions into a field recording: music fades, the mic drifts away like a cameraman walking off; footsteps, shifting ambience, distant street sounds (cars, chatter) gradually grow, End on environmental noise only, ‑Ashtrays and Unfinished Love Songs