"Rock"
Nummers gemaakt met Voices AI

Nummers gemaakt met Voices AI brengen spraaktechnologie in muziek - van covers tot originele tracks. Luister hoe makers en onze community AI-stemmen gebruiken om nieuwe geluiden en ideeën te ontdekken.

One World, One Reidcorp

One World, One Reidcorp

Cinematic industrial rock anthem with marching toms, distorted baritone guitars, metallic percussion, low brass, and disciplined choir-like gang vocals. Begin with a stark spoken-command intro over distant machinery, build through tense verses, then explode into a huge chantable chorus with clipped rhythmic phrasing. Add rising orchestral layers and snare-driven momentum in the bridge; finish with repeated massed slogans and a hard, authoritative stop. Dark dystopian propaganda atmosphere, wide arena mix, powerful male lead vocal, gritty saturation, punchy low end, and clear vocal-forward mastering.

Rearview

Rearview

Pop, rock, indie rock, R&B

Queens of Glory

Queens of Glory

Arena rock anthem with stomp-clap rhythm, driving toms, big guitar power chords, and a propulsive half-time chorus; verse keeps a tight march with low brass hits, pre-chorus strips to snare and gang chants, chorus opens wide with stacked female lead vocals and crowd shouts. Add risers into each drop, reversed cymbal swells before the hook, and short delay throws on the phrase "Queens of Glory." Mix is huge, bright, and punchy with a live-arena feel.

Cyber Graveyard Banger

Cyber Graveyard Banger

Slow, massive, grimy underground hip-hop BANGER with a VERY DEEP, aggressive NATURAL HUMAN male rapper. Low chest voice, rough, intimidating and controlled. SLOW RAP DELIVERY THROUGHOUT VERSES. Heavy, spacious cadence; let the beat breathe. NO DOUBLE-TIME OR RAPID-FIRE FLOW. Verses are blunt, conversational and street-level, like calmly telling a violent story. Aggressive yelling, shouting and barked rap emphasis are welcome, but remain RAP VOCALS. NO rock, metal or nu-metal vocals, metal screams, growls or raspy rock singing. NO melodic or sing-song rap, theatrical vocal bends, robotic effects, vocoder or Auto-Tune. CHORUS should be HUGE, EPIC, TRIUMPHANT and EXTREMELY CATCHY; melodic singing and layered human vocals ARE welcome in the CHORUS ONLY. Production: crushing drums, huge sub bass, distorted guitars, dark industrial synths, heroic brass and military percussion. Cyberpunk action-trailer energy in the BEAT ONLY. “The Scribe” and “Adam” always have distinct voices.

Verity Se Va

Verity Se Va

Dark pop-rock with driving mid-tempo drums and a pulsing bassline; verse rides tight electric guitar stabs and low synth drones; pre-chorus strips to toms and a rising vocal stack; chorus hits with wide power chords and a shouted gang-vocal anchor. Close-mic lead vocal in verses, doubled and gritty on hooks, with delay throws on the name Verity and reverse swells into each chorus. Bright, heavy, cinematic mix.

La magia  esta en ti  ,

La magia esta en ti ,

Stylle Balada Romántica, rock heavy, Female/ vocal, young singer, song, the Eccentric, Performance in the world. las protectoras del planeta las magas mujeres que traen la fuerza de los 4 elementos y el 5 solo ellas lo conocen, vocal female chilena, THE LATÍN QUEEN baladista. Myriam. Hernández, dramatic performance, soprano alto,

Peut importe

Peut importe

pop, rock

Schritt entgegen

Schritt entgegen

Der Song muss unaufhörlich vorwärtsdrängen, ohne sich befreiend anzufühlen. Der Rhythmus wirkt wie schnelles Gehen, das allmählich zum Rennen wird. Die Sängerin klingt stark und erwachsen, aber unter ihrer kontrollierten, rauen Stimme liegt Angst. Sie sehnt sich verzweifelt nach Nähe und fürchtet gleichzeitig deren Konsequenz. Keine triumphale Auflösung, kein euphorischer Refrain. Der Refrain soll größer werden, aber die emotionale Spannung nicht lösen. 1980s german Art-rock, ostrock, synthwave hybrid, driving hypnotic drums, fast synth arpeggio, dark female alto voice, powerful raw emotional belt, soaring electric guitar, driving bassline, melancholic yet high energy, 112 bpm⁠

Schritt im Schatten

Schritt im Schatten

Der Song muss unaufhörlich vorwärtsdrängen, ohne sich befreiend anzufühlen. Der Rhythmus wirkt wie schnelles Gehen, das allmählich zum Rennen wird. Die Sängerin klingt stark und erwachsen, aber unter ihrer kontrollierten, rauen Stimme liegt Angst. Sie sehnt sich verzweifelt nach Nähe und fürchtet gleichzeitig deren Konsequenz. Keine triumphale Auflösung, kein euphorischer Refrain. Der Refrain soll größer werden, aber die emotionale Spannung nicht lösen. Dunkler analoger 1980er Art-Rock, hypnotische Percussion, pulsierender Bass, kalte Synthesizer, organische Drums, körnige Produktion. Weiblicher Alt mit rauer, autoritärer Präsenz. Menschlich, ungeschliffen, dringlich. no dreamy synthwave, no glossy pop production, no uplifting chorus, no cinematic power ballad, no EDM build, no triumphant climax, no breathy ethereal vocals

Ink On The Walls

Ink On The Walls

Dark theatrical rock with swung toms, plucked upright bass, warped organ, and a stomping half-time pulse; verse creeps through sparse piano and tape hiss, pre-chorus tightens with rising choir pads and reversed cymbals, chorus opens wide with stacked snarled doubles and gang shouts on the hook. Vocal is close-mic and raspy in verses, larger-than-life in choruses, with delay throws on the title phrase. Gritty, roomy mix with crackle, creaking floorboards, and a final surge of distorted organ.

STILL GOT YOUR NAME

STILL GOT YOUR NAME

Smooth dark melodic trap, modern heartbreak street rap, deep clean sub-heavy 808 bass, long sustained 808 notes with smooth glides and occasional low slides, warm powerful low end, simple hard trap kick, tight dry snare and clap, crisp rolling hi-hats with subtle triplet fills, sparse haunting minor-key piano loop, dark ambient synth pad, soft atmospheric vocal textures, minimal instrumentation, hypnotic repetitive trap groove, no funk, no bounce, no live bass, no funky bassline, no rock elements, no dramatic orchestral sounds, smooth continuous beat, intimate low male rap vocal, effortless pocket, fast flowing verses with internal rhymes, restrained anger rather than shouting, melodic half-sung hook, layered low vocal doubles and subtle ad-libs, emotional but cold delivery, late-night atmosphere, 144 BPM, minor key, polished spacious mix, huge clean sub bass, themes of heartbreak, betrayal, loyalty, resentment and still loving someone you should have forgotten.

Happy at the Krusty Krab

Happy at the Krusty Krab

Upbeat novelty pop-rock with a nautical marching groove, brisk tempo, bouncy electric bass, bright rhythm guitar, handclaps, brass stabs, cartoonish organ fills, and cheerful ensemble backing vocals. Start with a jaunty kitchen-counter intro, build through compact verses, lift into a huge singalong chorus, add a playful call-and-response bridge, then finish with repeated celebratory chants. Clean, punchy mix, crisp drums, theatrical lead vocal, exaggerated smiles in the delivery, family-friendly comedy energy.

Wachmachen

Wachmachen

1980s art rock, dark cabaret rock, theatrical female alto with raw melancholic and raspy sound, bluesy stomp beat, distorted baritone guitar, atmospheric organ, smoky rasp, mysterious ambient tension, slow heavy tempo, analogue production, 85 bpm⁠

Panda in mezzo

Panda in mezzo

Italian pop-rock with a driving mid-tempo swing, stomping percussion and gritty electric guitar; verse rides tight and conversational, pre-chorus opens with lifted harmonies and a rising bass walk, chorus hits with gang vocals on the anchor phrase. Lead vocal stays close-mic and rough in verses, doubled on the hook with short delay throws. Ear candy includes a tape-stop into the chorus, little horn stabs between lines, and a final lift with claps and hand percussion. Bright, punchy, street-level mix.

Sizzle in the Pan

Sizzle in the Pan

Pop-rock with a bouncy mid-tempo groove and tight syncopated drums; verse rides dry guitar, finger snaps, and a slippery bass line, pre-chorus strips to bass and clap buildup, chorus hits with stacked gang vocals and a hooky guitar riff. Lead vocal is close-mic and playful with doubled chorus lines, little ad-lib throws on the last word. Bacon sizzle fills, reverse cymbal lifts, and a crisp handclap pickup into each hook. Bright, punchy mix with a greasy, tongue-in-cheek edge.

Sturkopf

Sturkopf

1980s ostrock, art rock, gritty duet, dark female alto voice with raspy raw sound, staccato pressed rasp male vocal, driving hammond organ, raw bluesy electric guitar, heavy rhythmic drums, dramatic emotional tension, analogue production, 112 bpm

Sturkopf2

Sturkopf2

1980s ostrock, art rock, gritty duet, dark female alto voice with raspy raw sound, staccato pressed rasp male vocal, driving hammond organ, raw bluesy electric guitar, heavy rhythmic drums, dramatic emotional tension, analogue production, 112 bpm

Schattenblaues Echo

Schattenblaues Echo

Ein Song, atmosphärisch und stilistisch wie „Edge of seventeen“ von stevie nicks. dark female alto voice, passionate raw rock belt

Altenburg

Altenburg

1980s art rock, classic rock ballad, analog piano, acoustic rock, dark female alto voice, raw emotional belt, bluesy electric guitar, organic drums, slow build-up, dramatic climax, no synthpop, 68 bpm⁠

Asphalt und Salz

Asphalt und Salz

Punk rock with a driving 4-on-the-floor pulse, ringing guitar jabs, and a propulsive bass line; verse rides tense and close, pre-chorus opens with rising gang chants and tom hits, chorus breaks wide with raw belt and stacked shouted doubles. Dark female alto lead, cracked and intimate in verses, fierce and open-throated on hooks. Add reverse guitar swells into each chorus, short delay throws on the last word, and a sharp cymbal lift into the bridge. Bright, punchy, sweaty mix with gritty edge., rock, raw

Samthandschuh live

Samthandschuh live

German art rock anthem with driving mid-tempo pulse, taut guitar strums, and a steady snare march; verses stay intimate and restrained, pre-chorus opens into rising backing harmonies, chorus lands wide and defiant with stacked doubles and shouted gang responses. Add short tom fills, a sharp lift into the final refrain, and a bright, slightly raw mix with female close-mic lead vocals and gritty edge. Her voice is raspy, smoky, Full of melancholy and longing

Nachtsturm auf Asphalt

Nachtsturm auf Asphalt

1980s art rock and classic rock hybrid, driving pounding piano riff, energetic drums, dark female alto voice, raw raspy voice, full of emotion, passionate, passionate raw rock belt, soaring electric guitar solo, emotional, 118 bpm⁠

Bergsturm

Bergsturm

1980s german Art-rock, ostrock, synthwave hybrid, driving hypnotic drums, fast synth arpeggio, dark female alto voice, powerful raw emotional belt, soaring electric guitar, driving bassline, melancholic yet high energy, 112 bpm⁠

Samthandschuh

Samthandschuh

1980s ostrock, Art-rock, driving bassline, upbeat energetic rock, dark female alto voice, raw emotional rasp, crisp drums, retro synth arpeggio, energetic guitar riffs, 108 bpm⁠

Flurlicht

Flurlicht

1980s german ostrock, silly style, poetic melancholic art-rock, dark alto voice, intim, emotional rasp, subtle warm bass, vintage synth pads, nostalgic electric guitar, 94 bpm⁠

Katowice Lights

Katowice Lights

Epic guitar-driven classic rock with a sophisticated late-70s pub-rock feel. Around 145–150 BPM, tight live drums, warm melodic bass, clean fingerpicked electric guitar, subtle rhythm guitar and sparse organ. Relaxed male storytelling vocals with a cool, understated tone. The verses stay loose and groovy, while the arrangement gradually grows bigger and more cinematic. Long expressive guitar solos with fast fingerstyle runs, dynamic phrasing, bends and melodic improvisation. Natural analog band sound, no heavy distortion, lots of space and groove. Final section becomes huge and triumphant with extended guitar solo, stronger drums and a powerful live-concert atmosphere. Elegant, energetic, timeless and epic.

snacks

snacks

1960's, 1970's rock 'n roll, singer-songwriter, baritone male vocalist, hammond b-3 organ, upbeat

Lampe im Treppenhaus (live)

Lampe im Treppenhaus (live)

1980s german ostrock, tamara Danz style, poetic art melancholic rock, dark alto voice, intimate, emotional rasp, subtle warm bass, vintage synth pads, nostalgic electric guitar, 102 bpm⁠, Intimate atmosphere of a live club

[MOVEMENT ONE/AWAKENING][

[MOVEMENT ONE/AWAKENING][

[Psychedelic progressive acid rock, trance, cinematic symphonic, continuous long-form concept composition][Analog warmth, organic human timing, huge dynamic range, immersive 3D stereo][Pedal-heavy melodic electric guitar, fuzz, sustain, reverse guitar, tape echo, ping-pong delay, phaser, flanger, rotary, wah, feedback, volume swells][Felt piano, Rhodes, fingered/distorted bass, organic drums, toms, timpani, ritual/industrial percussion][Analog polysynth, arpeggiator, sub drones, evolving pads, granular synthesis, reverse samples, found sounds][Strings, cello, violins, low brass, French horn, atmospheric choir, processed lyre][Deep sub-bass, wide stereo motion, filter sweeps, reverse swirls, modulation, layered echoes][Modal harmony, ambiguous tonal center, tempo evolution, slow-build crescendos, psychedelic trance pulse][Abstract soundscape becomes structured rock then increasingly frenetic before warm dreamlike collapse][No pop structure, trap, glossy vocals, hard EDM drop, constant distortion or abrupt silence]

Sturborn

Sturborn

Driving alternative rock with a gritty mid-tempo pulse, tight live drums, distorted bass, clipped electric-guitar riffs, and a broad melodic chorus. Start with palm-muted guitar and restrained kick, add full drums and bass in the pre-chorus, then open into stacked guitars and forceful lead vocals. Use a brief half-time bridge before the final chorus, with gang harmonies on the title phrase. Dry, punchy verses; wider guitars and controlled room ambience in the choruses; polished but rugged mix with clear vocal presence.

Capot vers l’écume

Capot vers l’écume

Rock énergique with driving midtempo swing, punchy four-on-the-floor kick, jagged guitar riffs, and a restless bassline; verse rides tight power chords and compact drums, pre-chorus opens with tom buildup and vocal lift, chorus hits wide with gang doubles on the hook. Lead vocal stays close and gritty in verses, doubled and shouted on hooks, with delay throws on final words. Tire squeals, reversed cymbal swells, and a salty crash accent the transitions; bright, raw, and road-dusted mix., rock

Standby

Standby

experimental, choral, classical, electric guitar, dark hard rock

Standby

Standby

experimental, choral, classical, electric guitar, hard rock

Tavuluni

Tavuluni

Cinematic pop-rock with stomping half-time drums, driving electric guitars, and a pulsing low synth undercurrent; verse stays lean with palm-muted riffs and tight drum hits, pre-chorus opens into rising gang vocals, chorus lands wide with stacked harmonies and shouted title chants. Vocal is close-mic in verses, doubled and gritty on hooks, with delay throws on key phrases, reverse swells into the chorus, and a final lift with crowd-like backing voices. Bright, punchy, arena-sized mix.

Anchour Under Water

Anchour Under Water

Pop rock with stomping mid-tempo groove, punchy drums, driving bass, and watery synth guitar accents; verse keeps it tight with close-mic lead and small harmony lifts, pre-chorus strips to bass and handclaps, chorus opens with stacked doubles and gang vocals on the anchor phrase. Transition moments use sonar blips, rising bubble swells, and a splashy reverse cymbal into each hook. Bright, glossy mix with a heavy low end and clean vocal polish.

Cecília é Flex

Cecília é Flex

Rock alt with driving mid-tempo guitars, punchy tom-heavy drums, and a gritty bass riff that locks into a swaggering groove; verse rides tight palm-muted chords, pre-chorus opens with rising cymbal crashes and stacked gang shouts, chorus hits wide with shouted doubles on the anchor phrase. Vocal is close-mic and rough in verses, larger and raspy on hooks, with delay throws on key names. Add a reverse swell into each chorus and a short breakdown before the final lift. Bright, loud, and muscular mix with a live-room edge., rock

Der Pflege Song

Der Pflege Song

(Melodie: Kraftvoll, treibend, im Stil eines klassischen Folk- oder Rock-Protestsongs)

Pflege Song

Pflege Song

Melodie: Kraftvoll, treibend, im Stil eines klassischen Folk- oder Rock-Protestsongs)

Nuestra "relación”

Nuestra "relación”

Pop Rock (⭐⭐⭐⭐⭐ Mi recomendación) BPM: 140–150. Batería energética y constante. Guitarras acústicas al inicio y eléctricas en el coro. El coro entra con mucha fuerza y es fácil de cantar. Sensación: "estoy herido, pero sigo adelante".

В Простоквашино

В Простоквашино

Pop-rock with driving mid-tempo groove, tight drums and chugging guitars; verse stays lean and playful, pre-chorus opens with rising backing harmonies, chorus hits with gang vocals and a sharp chant on the title phrase. Add reverse cymbal swells into each chorus, a tambourine lift on the second verse, and a short break before the final hook. Bright, punchy, radio-ready mix with close-mic lead vocal and wide stacked doubles on the hook.

Private Hell

Private Hell

hard rock, drums, country pop, soundtrack, organ, bass, soul, harp, trance, afrobeat, a cappella, ballad, hip-hop, violin, bluegrass, emo, orchestral, harmonica, choral, saxophone

여름

여름

Korean indie rock / youth band, warm and nostalgic, bittersweet but hopeful. Start with soft clean electric guitar and gentle piano, intimate warm male vocal with a natural, slightly breathy tone. Keep the verses restrained and spacious, focusing on poetic emotion rather than storytelling. Gradually add warm bass and live drums. Build tension through the pre-chorus and open into a melodic emotional chorus. After the second chorus, use an extended expressive electric guitar instrumental, slowly increasing intensity. The bridge should strip back to a minimal arrangement and vulnerable vocal, then rise into a powerful final chorus with full live drums, layered guitars and backing vocals. End with a quiet, lingering outro. Organic live-band sound, dynamic arrangement, cinematic atmosphere without orchestral elements, youthful and sincere. Avoid EDM, synth-heavy production, excessive vocal effects, and overly dramatic ballad sounds.

Топ-один Марк

Топ-один Марк

High-energy Russian gaming anthem blending modern pop-rock and electronic trap. Start with a tense cinematic intro, then bring in punchy drums, distorted rhythm guitars, sub bass, bright synth arpeggios, and crisp game-inspired percussion. Verses should feel focused and narrative; build the pre-chorus with rising synths and snare tension. Make the chorus huge, chantable, and stadium-ready with doubled male vocals, gang shouts on key phrases, and a strong downbeat. Add a short half-time bridge, then return to the final chorus with extra harmonies. Clean loud mix, tight low end, wide guitars, polished streaming master.

How High

How High

rock, lounge, afrobeat, funk, jazz, metal, house, experimental, soul, progressive, EDM, industrial, R&B, synthwave, xylophone, trombone, bluegrass, electric guitar, reggaeton, cello

Find My Love

Find My Love

grime, house, folk, percussion, tango, folk rock, grunge, hard rock, ukulele, a cappella, xylophone, beatbox, fusion, funk, country, mandolin, celtic, bossa nova, industrial, synth-pop

Ironheart Rising

Ironheart Rising

rock anthem

Гаити для Крабса

Гаити для Крабса

Upbeat Russian pop-rock with bouncy mid-tempo groove, tight syncopated drums and a playful bassline; verse tells the story in crisp lines, pre-chorus tightens with rising backing vocals, chorus bursts with chantable group hooks and a singback catchphrase. Vocal production uses close-mic lead, stacked doubles on the hook, and short delay throws on punchlines. Ear candy includes whistle hits, reversed swells into the chorus, and a bright handclap lift. Mix is glossy, punchy, and cartoon-bright.

Ryan My Son

Ryan My Son

Rock rap with proud 2020s swagger and soft metal weight, mid-tempo stomp with tight palm-muted guitars, punchy live drums, and a steady half-time groove; verse rides low and conversational, pre-chorus opens into rising toms and layered harmonies, chorus hits with wide guitars and a chantable hook. Deep white male vocal with gritty lead verses, doubled choruses, and anthemic gang-style responses. Ear candy includes reverse cymbal swells, a brief guitar harmonic lift before each chorus, and a clean bass push under the bridge. Mix is bold, warm, and arena-bright., rock, metal, vocal, rap, deep, soft

Jessica in the Elevator

Jessica in the Elevator

Sexual rap-rock with a grinding midtempo pulse, swung drums and distorted guitar stabs under trap hats; verses trade between snarled rap and raspy sung lines, pre-chorus strips to bass and finger snaps, chorus slams in with gang-voiced hook repeats and octave doubles. Use breathy close-mic lead, stacked low harmonies, delay throws on key words, and risers plus metallic elevator dings into each drop. Dark, glossy, high-contrast mix with a sweaty club edge., beautiful, soft, rap, vocal, deep, rock

Scarlett Elevator

Scarlett Elevator

2020s romantic rock-rap with male vocals, mid-tempo swung drums and punchy guitar stabs under trap-leaning percussion; verse rides close-mic rap-sung lines, pre-chorus opens with widening harmony stacks, chorus hits with gang doubles and a soaring rasp. Elevator-door risers, bass-drop swells, and short reverse cymbals thread the transitions. Bright, glossy, intimate mix with a gritty low-end and wide hook lift., rock, soft, romantic, rap, deep, vocal, beautiful

Scarlett Red Moon

Scarlett Red Moon

Romantic rap-rock with a slow head-nod groove, halftime drums, crunchy guitars, and a subby bass pulse; verse 1 rides deep raspy white male rap with tight doubles, pre-chorus opens into sung lift and stacked harmonies, chorus hits with gang shouts and wide guitar chords. Add moonlit synth shimmer, reversed swells into the hook, and a final bridge break with half-time snare. Mix is glossy, wide, and smoky-close., deep, rock, soft, romantic, rap, vocal, light, beautiful

Scarlett On The Strip

Scarlett On The Strip

2020s romantic rock-rap with a moody mid-tempo swing, half-sung verses and a nocturnal pulse; verse one rides sparse guitar and snapped drums, pre-chorus opens with rising toms and stacked breaths, chorus hits with wide power-chord lifts and a sticky chant, verse two tightens into rap with bass and handclaps, bridge drops to intimate close-mic voice then final chorus blooms bigger. Deep raspy white male vocals, doubled choruses, ad-lib echoes, delay throws on key phrases, moonlit chimes and reverse swells into transitions, bright-sheen mix with smoky low end and a polished radio finish., light, rock, vocal, romantic, beautiful, deep, soft, rap

Scarlet Roadside Moon

Scarlet Roadside Moon

2020s romantic R&B rock with a slow half-time swing, muted electric guitar licks over subby kick and snap, then a rap-leaning verse pockets in with husky male vocals and sung hooks. Verse rides sparse drums and clean guitar; pre-chorus opens with stacked harmonies and rising synth haze; chorus hits with big brushed snare, doubled lead, and a crunchy guitar lift. Add reverse swells into transitions, tape delay throws on key phrases, and a final chorus with crowd-like gang doubles. Close-mic, deep raspy white male vocal, warm and glossy mix with gritty edge., light, r&b, deep, vocal, rock, rap, romantic, beautiful, soft

Moonlit Vegas Rose

Moonlit Vegas Rose

Romantic R&B country-rock with a slow 92 BPM sway, half-time drums, fingerpicked acoustic guitar, muted electric bends, and a warm low bass pulse. Verse rides intimate and sparse; pre-chorus opens with stacked harmonies and rising pedal steel; chorus hits with gritty power chords and a soulful lift. Deep raspy male vocals, close-mic in verses, doubled on hooks, with ad-lib fills and delay throws. Desert wind risers, reversed guitar swells, and a final chorus lift. Bright, widescreen, and smoky, rock, romantic, light, beautiful, soft, r&b, country, vocal, deep

Moonlight On The Edge

Moonlight On The Edge

2020s romantic country-rock with silky R&B phrasing, slow midtempo sway and a loose backbeat; verse rides acoustic guitar, muted electric licks, and warm bass, pre-chorus opens with rising harmony stacks, chorus blooms with ringing guitars and a simple drum lift. Breathy lead with stacked doubles, soft ad-libs, delay tails on hook words, vinyl crackle into the first verse, reverse cymbal into each chorus, wide polished mix with a tender late-night glow., rock, light, country, romantic, r&b

Hangover Night in Las Vegas

Hangover Night in Las Vegas

2020-era party hip-hop fused with dance-rock and festival EDM: punchy four-on-the-floor kick, crisp trap hi-hats, distorted rhythm guitars, bright supersaw synth hooks, stomping claps, and explosive drop-style choruses. Verses use a deep raspy white male rap-sung delivery with dry close-mic grit; choruses open into shouted gang responses and wide doubled vocals. Build from a sparse hungover intro into full drums, use a tension-building pre-chorus, then hit each chorus with guitar chugs, sub-bass, and a big festival drop. Keep the mix loud, polished, radio-ready, and slightly rough around the vocal edges, with short slap delay and controlled arena reverb. Target a playful, reckless, sun-baked Las Vegas weekend atmosphere.

Slot Machine Morning

Slot Machine Morning

Hip-hop rap fused with dance-rock and EDM at a club-ready midtempo; stomping four-on-the-floor drums, crunchy guitar stabs, and a huge sub drop on the hook. Verse rides tight drums and talk-rap swagger; pre-chorus strips to claps and a filtered synth lift; chorus hits with chanty gang vocals, distorted guitar, and a wide synth lead. Deep raspy male vocal, doubled on punchlines, ad-lib throws, and shouted hook layers. Neon risers, casino-chip foley, and reverse swells bridge into each drop. Bright, gritty, and big-room punchy., edm, hip-hop, rock, rap, deep, vocal

Last Call Vegas

Last Call Vegas

Party hip-hop fused with dance-rock EDM at a club-rattling midtempo bounce; verses ride heavy drums, clipped guitars, and a greedy sub pulse, pre-chorus strips to handclaps and a rising synth whine, chorus slams in with four-on-the-floor kick, gang chants, and a huge guitar hook. Deep raspy male vocal stays close-mic in verses, doubled and shouted on the hook, with delay throws on the last word, filter sweeps into drops, and glittering risers between sections. Bright, loud, and sweaty mix., hip-hop, edm, vocal, deep, rap, rock

Burn This Night Down

Burn This Night Down

1982 dance-rock and post-disco crossover, four-on-the-floor kick with tight funk bass, clipped rhythm guitar, bright electric piano, handclaps, tambourine, gated snare, occasional saxophone stabs, and a melodic hard-rock guitar solo. Deep raspy white male lead vocal, swaggering and slightly drunk, with shouted gang responses in the choruses. Verses ride a lean bass-and-guitar groove; pre-choruses strip back briefly; choruses open into wide guitars and stacked backing vocals; bridge drops to bass, toms, and vocal before the solo. Analog tape saturation, punchy 1980s drums, dry upfront vocal, wide chorus guitars, lively club-ready mix. Exactly about four minutes.

Backroom Fever

Backroom Fever

1982 pop post-disco R&B funk-rock at mid-fast tempo with a rubbery bassline, four-on-the-floor kick, clipped rhythm guitar, glossy synth stabs, and sax accents in the breaks; verse rides tight funk pockets, pre-chorus lifts with stacked harmonies, chorus opens into a swaggering singalong, bridge drops to half-time with a smoky guitar lick and handclaps; deep raspy white male vocal with double-tracked choruses, shouted ad-libs, and short delay throws on the hook; tape hiss, reversed cymbal swells, and rim-click fills lead into each chorus; bright, punchy, and sweaty, rock, vocal, r&b, funk, pop, deep, post-disco

Prank Calls

Prank Calls

easy listening, xylophone, guitar, pop punk, punk, banjo, violin, ukulele, afrobeat, soft rock, vocal harmony, synthwave, trap, bossa nova, grime, organ, alternative, accordion, trip hop, funk

War Paint

War Paint

techno, synthwave, ballad, synthesizer, future bass, rock, grunge, trip hop, soul, bluegrass, organ, xylophone, acoustic, blues, folk rock, 80s, alternative, hard rock, fusion, baroque

Reignite the Broken

Reignite the Broken

trance/rock anthem

Dream Police

Dream Police

folk rock, salsa, harp, organ, drum and bass, flute, dance, house, cello, jazz, vocal harmony, trap, lounge, ukulele, soundtrack, celtic, pop, pop punk, synth-pop, minimalist

The Maze

The Maze

vocal harmony, indie, beatbox, organ, acoustic, reggaeton, violin, trance, piano, disco, brass, bluegrass, progressive, cinematic, saxophone, celtic, indie rock, guitar, clarinet, flute

Ritmo del Rescate

Ritmo del Rescate

Un base de rock Melodia pegagoza estilo reik

Let it Burn

Let it Burn

Rock, horror core, eerie, intense

Midas Number Eight

Midas Number Eight

Stadium pop-rock with driving four-on-the-floor drums, punchy bass guitar, and chanty gang vocals; verse stays tight and narrative, pre-chorus lifts with rising toms and handclaps, chorus opens wide with stacked harmonies and a repeated crowd hook. Add short whistle stabs, crowd shouts, and a final key-change feel. Bright, glossy, and anthemic mix., world

Midas, Number Eight

Midas, Number Eight

Stadium-sized cinematic football anthem: driving four-on-the-floor rock drums with marching toms, muscular electric bass, bright distorted guitars, wide orchestral brass, and rising strings. Verses should feel focused and narrative, pre-choruses should add snare lifts and harmonic tension, and choruses should explode into huge group chants around the name and number. Strong clear male lead vocal with gritty determination, layered crowd vocals on the hook, polished broadcast-ready mix, punchy low end, wide guitars, and a triumphant final chorus with extra brass and percussion.

Sunset Parade

Sunset Parade

80s synth-pop and rock montage cue with driving four-on-the-floor drums, glossy bassline, chiming electric guitar riffs, bright steel drums, and a big key change lift; verse rides lean on pulse and arpeggios, middle section opens with guitar hero fills, final run hits with layered synth brass. Add tape-warp swells, tom fills, and gated reverb snapshots; wide, punchy, neon-bright mix., electric

People don’t care why should I by: bez bez

People don’t care why should I by: bez bez

rock, soft rock, violin, strings, dance, bass, alternative paint, hip hop, hardrock

More Than a Number

More Than a Number

Upbeat comedy pop-rock with a bouncy T 115 BPM groove, crunchy electric guitar, handclaps, playful bass, bright piano accents, and a warm live-band mix. Verses should feel conversational and lightly sarcastic, pre-choruses should lift, and the chorus should be wide, catchy, and affectionate with group backing vocals. Male lead vocal with confident comic timing; keep the roast teasing but kind, never cruel or dehumanizing.

Jasper sinks

Jasper sinks

folk rock

Jonathan Big Strong Man

Jonathan Big Strong Man

Heartland country-rock anthem in a driving mid-tempo stomp with handclaps, chiming electric guitar, and steady kick-snare groove; verse rides acoustic strum and bass, pre-chorus lifts with tambourine and stacked harmonies, chorus hits wide with gang vocals and big open chords. Lead vocal is warm and rough-edged with doubles on the hook, delay throws on key names, and a final lift with strings, pedal steel fills, and bright punchy mix., world, strong, light

Dust on My Boots

Dust on My Boots

Rock country with metal weight, mid-tempo half-time stomp and tense swung guitars; verse rides dry acoustic strums and restrained low toms, pre-chorus opens with widening power chords and a rising snare build, chorus hits with distorted guitars, thick bass, and a chantable hook. Deep raspy white male vocal, close-mic and cracked in verses, double-tracked on the chorus with rough gang shouts. Ear candy: reverse cymbal swells into each lift, faint radio hiss, and a final guitar squeal that hangs on the last word. Mix is gritty, punchy, and wide, with a worn-road edge., vocal, metal, rock, country, deep

Legacy in Stone

Legacy in Stone

stadium rock, driving electric guitar, powerful drums, anthemic vocals, 1980s arena rock style, high energy

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