PRETTY GUILTY

High-energy pop-punk with bubblegum-bloodlust edges; female lead vocal with a brat-like sugar-snap bite; crunchy overdriven guitars locked to fast, snappy live drums; palm-muted verses that explode into bright, hook-heavy choruses; tight room verb on vocals, punchy parallel-compressed kit, and melodic bass that doubles the vocal rhythm; early‑2000s teen‑riot gloss with a modern emo‑hyperpop shimmer; arrangement moves from lean verse to explosive chorus to a half‑time, dreamy bridge before a chaotic refrain, The end of refrain is cutoff by Spoken word ending by middle aged male

High-energy riot grrrl pop-punk, 155 BPM, distorted bass, palm-muted to open-octave guitars, tight dry snare, live drums, cowbell hits, abrupt feedback breaks, female lead, brat, biting, shredded choruses, spoken/rapped venom verses, unhinged scream, gang vocals, violent, clever, quotable, no synths, no auto-tune

Pop-punk hyperpop revenge anthem called "I Fucked Your Dad", 165 BPM, A minor, Female or androgynous vocal, sharp sarcastic verses and big emotional belt choruses, Style: OliviaRodrigo x AshNiko x AvrilLavigne x 100gecs, Verses: palm-muted power chords, fast punk drums, distorted bass, lightly overdriven vocal, Pre-chorus: drop to kick, bass and filtered guitars, tension risers, Chorus: huge wall of sound, hard-panned guitars, bright crashes every beat, 808 sub with live bass, hook line doubled/tripled with harmonies and echoes, no gang vocals, Post-chorus: glitchy vocal chops and stuttering hi-hats, Bridge: intimate acoustic then full band build, Final chorus: brass stabs, extra screams and ad-libs, Sound design: record scratch into first chorus, camera shutter on “took pictures”, notification ping on “single click”, Mix: loud, saturated, vocals upfront, very catchy, darkly funny and unhinged

Catchy melodic bubblegum Hyperpop Summer Anthem, sassy stunning sexy surfer girl lyrical delivery, 138 BPM, Iridescent synths, euphoric vocal harmonies, catchy Sugar-rush, Every sound crystalline and bright, PC music production mixed with pop punk energy

Full-throttle punk Armageddon, Riot-girl vocals sneering, guitars heavy and distorted and fuzzed out like a panic attack, drums smashing like a panic attack loud catchy Hooks you’ll shout while you’re blocking my number, Every line oscillates between self-own, black comedy, and emotional arson

A dance R&B / disco-pop track with a tight Linn/909-style backbeat and a rubbery, syncopated synth-bass that carries the hook, Verses stay close and restrained—male tenor on the mic, dry and confident—while soft JP-8/Juno pads and clean chorus-guitar stabs on the offbeats hint at lift, Pre-chorus opens the room with a brief drum mute and airy plate reverb as harmonies bloom, The chorus hits glossy and chantable with octave vocal stacks, handclaps on 2 and 4, and a brighter pad bed riding the bassline’s MJ-leaning bounce, Bridge strips to kick + bass + pad with falsetto sprinkles, then the final hook returns wider with doubles, ad-libs, and tight slap-delay tails, Keep the mix polished but warm—mono-solid low end, gentle top-end air—and end on a clean hook tag or hard stop on the downbeat

Intimate chamber-pop / indie-folk tragedy at ~92 BPM: slightly detuned upright piano and subtle “wedding mic” room reverb, with fork-on-glass and glass-clink foley, Verses are breathy and controlled, delivered like a practiced toast; the chorus lifts into swelling strings and restrained drums with a kick that pulses like a nervous heartbeat, Female lead vocal with crisp diction and tightly held emotion that finally cracks on the bridge highs, The outro drops the band into raw room ambience and mic feedback for a dry spoken toast, then a fading sung confession

Dark electropop with industrial undertones, 118 BPM, minor key, Controlled simmering verses with tight sub-bass, restrained glitchy synths, quiet menace, Pre-chorus adds urgent driving percussion, Chorus explodes with aggressive stacked vocals, distorted bass drops, pounding live-feeling drums, cathartic release, Bridge strips to near-silence—raw exposed vocal over a single pulsing bass note—before rebuilding into feral final chorus, Female vocal starts breathy and controlled, becomes increasingly unhinged and growling, Production should feel like something caged finally breaking free

Build up with lush 80s synth pads and delicate fingerpicked guitar, but let everything fall apart halfway with glitchy drums and sudden hyperpop chaos, The chorus should be sweet and melodic but hide vicious lyrics, Add subtle gospel harmonies in the background, End with a long, echoing breakdown that sounds like a panic attack in slow motion

Hyperpop, Dance Pop, Female Vocal, Synth Bass, Playful, High Energy, Four-on-floor

Upbeat white Christmas oldies tune, Bing Crosby vocals festive Vintage 1950s Christmas crooner spectacular, to the tune of white Christmas, upbeat jazzy Bing Crosby vocals meets Dean Martin meets FrankSinatra, lush full philharmonic orchestra, angelic children's choir, triumphant brass fanfares, trumpet, retro, oldies, warm analog vinyl crackle, sleigh bells throughout, completely sincere heartfelt delivery with zero irony in performance, big band golden age Hollywood Christmas recording, sweeping emotional strings, climactic choir finale, ends with gentle music box then explosive reprise, maximum production value, the most wholesome sound imaginable, Macy's Thanksgiving Day Parade finale energy