Songs made with Voices AI bring voice technology into music - from covers to original tracks. Hear how creators and our community are using AI voices to explore new sounds and ideas.
Una Luz en las tiniebla 1.1
Spanish-language Celtic-medieval symphonic rock ballad. Open with a majestic choir, violins, flutes, cellos, and ceremonial percussion. Transition into expressive clean male vocals, piano, acoustic guitar, orchestral strings, electric guitar, bass, and rock drums. Blend Celtic folk, medieval atmosphere, classical orchestration, and melodic symphonic rock. Clear Latin American Spanish, natural word stress, spacious phrasing, soaring memorable choruses. Biblical journey: repentance, promised Child, escape to Egypt, suffering Servant, peace, Jesusâ return. Egypt: tender and quietly urgent. Suffering: intimate piano, cello, vulnerable vocals. Build the swords-to-plowshares bridge with choir and rising percussion. Soften for spoken Scripture, then end with a majestic grand finale using all instruments and full choir. Keep lyrics clear; never sing section labels. No growls or screams.
EVERY SHADOW HAS A FACE
126 BPM dark, gritty, polished 80s-influenced melodic hard rock. Male lead dominant throughout, with strong female vocals woven into the verses, rising pre-choruses, harmonised choruses and emotional bridge responses. Crunchy distorted guitar riffs, driving bass, punchy live drums and a tense, unsettling atmosphere. Powerful melodic chorus with a memorable hook, emotional guitar solo and explosive final chorus. Radio-quality studio production, raw emotion and intensity. No country, blues, metal, crowd noise or arena sounds. No spoken vocals, whispers or cinematic intro. Start immediately with a dark, driving electric guitar riff and full-band groove, male vocals entering quickly.
THE MONSTER IN HIS HEAD
126 BPM, dark, gritty, polished 80s-influenced melodic hard rock. Heavy crunchy guitars, driving bass, pounding drums, tense verses and a huge explosive chorus. Male lead dominant, gritty and increasingly intense. Strong female responses from verse 1, powerful harmonies throughout. Emotional melodic guitar solo. Immediate sung male vocal, no spoken intro, no whispers, no cinematic opening. Studio recording only.
PROMISES IN THE DARK
126 BPM. Dark, emotional, gritty, polished 80s-influenced melodic hard rock. Male lead dominant with a strong, expressive female vocalist sharing verses, pre-choruses, call-and-response and harmonies throughout. Female opens immediately with a sung, emotional line, followed by crunchy electric guitar riff and punchy drums. No spoken words, whispering or cinematic intro. Big melodic guitars, driving bass, powerful snare, catchy soaring chorus, emotional guitar solo and explosive final chorus. Raw heartbreak, tension and frustration with a powerful radio-ready Bulletproof Hart sound. Studio recording only, no crowd or audience sounds.
A Light in Our Darkness
Start with a majestic celtic folk medieval chorus intro with violins, flutes, cielos, percussions then continue with symphonic rock, balland, blending elements of classical music, medieval music, violin, flute, cielo, percussion, chorus and end with majestic grand finale using all instruments
NO LONGER HIM
126 BPM. Dark, emotional, gritty, polished 80s-influenced melodic rock. Crunchy electric guitars, driving bass, punchy drums, powerful snare and an emotional melodic guitar solo. Strong, slightly raspy male vocalist is the dominant lead throughout the song. FEMALE MUST SING THE VERY FIRST WORDS OF THE SONG. No male vocals or instrumental introduction before her. Female sings the first two lines completely solo, then male enters and takes over the lead. Male sings all remaining verses, pre-choruses and main chorus lines. Female adds strong emotional harmonies, layered backing vocals and selected responses throughout, building into powerful harmonised choruses. Stripped-back emotional bridge that builds into a huge final chorus. Female opens the outro and both voices finish together. No spoken words, whispering, rap, crowd sounds or cinematic intro. Polished, professional radio-ready studio rock.
Radical States of Populism
hard rock, metal
Natal Telah Tiba
Indonesian slow pop-rock ballad in G major, steady restrained 4/4 groove, warm rounded male baritone with a slight husky edge and tender melancholy. Begin with intimate piano and clean electric guitar; bring in soft bass and measured drums through the verse, widening into a heartfelt chorus with sustained electric-guitar chords and gentle backing harmonies. Keep the arrangement devotional, warm, and dynamic, with a close vocal mix and a polished, spacious finish.
Kasih Tinggal Selamanya
Slow pop rock in G major, warm reflective Christmas ballad, steady gentle rock pulse, clean electric guitar arpeggios with restrained overdrive in the chorus, soft piano and rounded bass, understated drums that grow into a broad heartfelt chorus, warm round male baritone with a slight rasp and tender melancholic delivery, clear Indonesian diction, intimate verses and a fuller but restrained polished mix.
Oida, halt kurz an
Ăsterreichischer Alternative-Hip-Hop-Crossover, rauer deutschsprachiger Rap mit markant österreichischer Umgangssprache, trockener tiefer Leadgesang, kantige E-Gitarren-Riffs ĂŒber staubigen Boom-Bap-Drums und knackigem Bass, gelegentliche verzerrte Synth-Akzente; Strophen dicht und rhythmisch, Refrain breit und melodisch, abrupte Stopps und dynamische Wechsel, kompakter Studio-Mix ohne Live-AtmosphĂ€re
Geh ma weiter
Austrian alternative hip-hop crossover with unmistakable Viennese dialect character, gritty boom-bap drums fused with live alternative rock guitar and deep bass, syncopated groove, sardonic urban energy, expressive male Austrian German rap vocal with conversational Wiener SchmÀh, hook shifts into a rough melodic chant, raw but controlled studio production, close dry vocal, no audience ambience
Bleib no a bissl da
Ăsterreichischer Alternative-Hip-Hop-Crossover, treibender boom-bap-Beat mit knackiger Live-Drum-Energie, verzerrte Indie-Rock-Gitarren als kurze Stabs, tiefer federnder Bass, subtile Wiener BlĂ€serfarbe, mĂ€nnlicher Rap im markanten österreichischen Dialekt, zwischen trockenem Storytelling und melodischem Mitsing-Refrain; Strophen eng und rhythmisch, Refrain breit mit Banddruck, raue aber klare Live-Raum-Produktion
Zwei linke Schuhn
Ăsterreichischer Alternative-Hip-Hop-Crossover, midtempo boom-bap groove fused with gritty alt-rock guitar stabs and warm analog bass; punchy live-sounding drums, occasional brass-like synth accents, dynamic verse-to-hook lift. Male Austrian German rap with conversational Viennese inflection, dry witty delivery, tightly rhythmic phrasing; hook opens into a rough melodic group chant. Raw but focused mix, upfront vocal, roomy snare, distorted guitar kept crisp and rhythmic.
Kasih Jadi Pulang
Indonesian Christmas pop-rock ballad, wistful and poetic, mid-tempo 4/4 groove with restrained live drums and warm bass; clean electric guitar arpeggios and soft piano in the verses, widening into ringing guitar chords and fuller drums at the chorus; intimate expressive lead vocal, gentle harmony layers, polished organic mix, final chorus lifting into a resolved sustained ending.
Selamat Natal, Sampai Bertemu
Melancholic Christmas pop-rock ballad, intimate piano and clean electric guitar in the verses, restrained live drums and warm bass entering gradually, broad ringing guitars and fuller drums lifting the chorus, expressive Indonesian lead vocal with clear phrasing, polished but organic production, final chorus resolving into a gentle piano-and-guitar coda with a satisfying held final chord.
Natal Ini
Melancholy Christmas pop rock, heartfelt Indonesian lead vocal, steady mid-tempo rock-pop groove, chiming electric guitar and warm piano, restrained bass and live drums, subtle sleigh bells as seasonal texture, verses intimate and reflective, chorus opening into a broad emotional melody, final chorus resolving into a tender guitar-and-piano ending with a clear held final note, polished but warm production.
Natal di Bintang Utara
Indonesian melancholic pop rock Christmas ballad, intimate piano and clean electric guitar opening, restrained steady drums entering in the first verse, warm bass, rising guitar layers and fuller drums in the chorus, expressive heartfelt lead vocal, poetic and wistful delivery, cinematic final lift resolving into a gentle piano-and-guitar ending, polished organic band mix
Kenangan Seng Gampang Beta
Slow Pop rock, 70 BPM, G major. Intimate acoustic guitar fingerpicking and gentle piano establish the verse; warm strings gradually bloom into the chorus, then recede for a sparse final passage. Male vocal, softly raspy and emotionally restrained, with expressive Melayu Ambon ornamentation and natural phrasing. Warm, spacious mix with clear vocal focus and a tender dynamic rise.
awerysopelea - is eh wuascht
Austrian alternative hip-hop / soul-funk crossover, around 98 BPM. Dry, confident male rap in natural Austrian German, light dialect, clear diction, conversational phrasing. Powerful female sung chorus, soulful chest voice, instantly catchy repeated 'Is eh wurscht', defiant and knowingly ironic. Stylish, weighty production: swung boom-bap drums, deep kick, warm electric bass, Rhodes and muted trumpet. Two-bar intro, compact first verse; FULL chorus before 45 seconds, adding Hammond organ, low strings and vocal doubles. Verse 2 adds tight clavinet and subtle percussion. Deliver punchlines straight, leave brief gaps; no comic voices. Chorus 2 stays huge: repeat the hook, then 8 full-energy instrumental bars with trumpet carrying the melody. Short exposed bridge over Rhodes; final chorus returns full power. Four energetic instrumental bars, hard stop, last spoken line dry and close. No novelty music, oom-pah, polka, schlager, comedy effects, crowd noise, rock drums or EDM drops.
awerysopelea - zu wenig, zu viel
German alternative hip-hop, 96 BPM, swung boom-bap drums, deep 808 bass. Raw intimate male rap, mature conversational delivery, clear diction. Female chorus: powerful chest voice, urgent, emotionally cracked; same inner perspective. Two-bar piano and pizzicato intro; 16-bar first verse, two-bar cello build. FIRST chorus at full power around 50 seconds: heavy drums, wide strings, low brass, soaring vocals. No slow burn. Verse 2 keeps the groove, adds muted trumpet and hand percussion. Chorus 2 is the centerpiece: full hook, repeated title, then 8 instrumental bars at FULL energy; violin carries the hook, brass answers. Abrupt total cut: one silent bar, no reverb. Bridge: exposed male voice, then one piano note and female voice. Final chorus returns at full power, then 4 energetic instrumental bars. Brief silence; final male line alone. Spacious rap verses, evolving arrangement. No rock guitars, rock drums, EDM drops, audience or choir.
awerysopelea - zu viel, zu wenig
German alternative hip-hop, 96 BPM, driving swung boom-bap drums and deep 808 bass. Raw intimate male rap, clear diction, natural phrasing; powerful female sung chorus with a breaking edge, urgent rather than soothing. Four-bar piano and pizzicato intro, short first verse, rising cello; FULL drums, wide strings, low brass and soaring vocals in the FIRST chorus, within the first minute. Keep verses spacious but rhythmic. Verse 2 adds muted trumpet and hand percussion. Chorus 2 is the long centerpiece: full hook, repeated title, then 8 instrumental bars at peak energy, violin carrying the vocal melody and brass answering. Abruptly cut EVERYTHING, including reverb, for one full silent bar. Bridge begins as exposed male speech, then a single piano note and female voice. Final chorus returns full and lasts, followed by 4 instrumental bars. Brief silence, final male line alone. No rock guitars, rock drums, EDM drops, audience or choir.
Liberty and Justice U.S.A
Rock, ballad electric guitar, classical metal
Liberty and Justice U.S.A
Rock electric guitar, ballad, Gothic soul
Liberty and Justice U.S.A
Rock, Gothic, soul, country pop, eletric guitar solo. dark
No rust on a working man
Fast-paced, hard-hitting dark country rock at 145 BPM. Extremely deep, rough, gravelly male bass vocals with powerful subharmonics, full of grit, attitude and character. Heavy, relentless thumping kick drums, punchy snare, deep rumbling bass guitar, dirty distorted electric guitar riffs, fast rhythmic banjo picking and occasional gritty harmonica. Strong, driving, foot-stomping rhythm throughout. A powerful blend of outlaw country, Southern blues rock and rockabilly. Verses delivered with gritty storytelling vocals, building into explosive, catchy choruses with pounding drums and heavy guitar. Short, energetic banjo and electric guitar instrumental solo. Deep growling spoken bridge building into a massive final chorus. Raw, rebellious, defiant working-class anthem with a strong, infectious beat. Finish with a short 5-second instrumental riff, two heavy drum hits and an abrupt full-band stop. No vocal outro, no fade-out.
Et toi, comment tu vas ?
Rock symphonique moderne âą Environ 5 000 caractĂšres âą Duo homme-femme âą Grande chorale mixte âą Orchestre, cuivres, cordes et tambours
awerysopelea - Was sagst du dann
German dark alternative hip-hop, 90 BPM. Raw male rap with precise diction; powerful female sung chorus, strained and pleading, anger mixed with a wish to believe. One narrator addresses God through unanswered questions. Four-bar intro: sparse piano, low bass clarinet, pizzicato strings. Short first verse; first chorus already delivers full emotional and instrumental force: heavy swung boom-bap drums, deep sub, bowed cello, wide strings, low brass, soaring female lead. Verse 2 keeps a tense pulse with bass clarinet accents. Second chorus is extended with a repeated hook, then 8 instrumental bars at FULL energy: violin carries the hook, brass answers, drums keep driving. Only then strip to piano for an intimate, hesitant spoken bridge. Final chorus returns in full, followed by 4 instrumental bars. Sudden stop, half-second silence, final male line alone. Serious, intimate, morally searching; no neat resolution. No rock, EDM drops, crowd noise or theatrical villain voices.
awerysopelea - Noch nicht fertig
German alternative hip-hop, 92 BPM, heavy swung boom-bap drums, deep 808 bass. Raw male rap, clear diction; female lead sings a huge, urgent, emotionally cracked chorus. First full-power chorus after a 4-bar intro, 8-bar rap verse and 2-bar build, around 40 seconds. Piano and pizzicato strings open; cello rises in the build. Every chorus has full drums, wide strings, low brass and soaring vocals. Keep the groove during verse 2, add muted trumpet and hand percussion. Second chorus is the long centerpiece: full chorus, repeated hook, then 8 instrumental bars at FULL energy; violin takes the hook melody, brass answers, drums and bass keep driving. No fade or early breakdown there. Only then a short intimate bridge with solo piano and exposed voices. Final chorus returns at full power, followed by 4 energetic instrumental bars. Hard stop; final spoken line alone. Make powerful sections last. No rock guitars, rock drums, EDM drops, crowd noise or choir.
Stay When the World Walks Out
Romantic 80s/90s rock power ballad about lifelong friendship, 68 BPM, 4/4, major key, nostalgic and bittersweet. Clean arpeggiated electric guitar with soft chorus, warm 12-string acoustic, subtle piano pads, melodic bass. Drums start gentle with brushed snare, then grow into a big arena backbeat in the chorus. Warm, slightly raspy male tenor, intimate in the verses, powerful and emotional in the chorus with lush stacked harmonies. Soaring melodic guitar solo with singing sustain after the bridge. Structure: intro, verse 1, pre-chorus, chorus, verse 2, pre-chorus, chorus, bridge, solo, final chorus with key change up, soft acoustic and piano outro. Cinematic, sincere sunset-drive mood. Polished warm analog production, wide stereo guitars, plate reverb on vocals. About 4 minutes.
We Won't Look Away
Urgent protest rock with punk edges, driving mid-tempo drums, gritty electric guitars, punchy bass, and a forceful mixed-group chorus. Build from a tense, clipped verse into a broad chant-like refrain, with a stripped bridge and a final full-band chorus. Raw, direct vocal delivery, live-room energy, clear words, and an unpolished, confrontational mix.
Who Gets to Belong
Urgent protest rock, driving and anthemic, sung lead addressing a crowd, call-and-response chorus, gritty live-band energy with forceful electric guitars and pounding drums.
Say It Plain
Driving alternative rock protest song, punchy live drums and gritty bass, sharp distorted guitar riffs, urgent conversational lead vocal building into a blunt chant-like chorus, tight verses and explosive refrains, raw room energy with clear modern mix.
Hunting My Heart
Modern country, with an easy conversational vocal phrasing, playful confidence, and a tight syncopated acoustic-guitar groove; contemporary country production with a country-rock edge and a relaxed Southern drawl.
Still Here, Still Swinging
Country rap fused with thrash metal, hard rock, and speed metal; galloping palm-muted guitar riffs, fast double-kick drums, gritty slide-guitar accents, punchy bass, and a rowdy male lead moving between rhythmic rap verses and shouted melodic hooks. Open with a brief slide-guitar-and-riff salvo, drive the verses with tight chugging guitars and clipped vocal cadence, then explode into a gang-shouted chorus with full-speed drums; add a short ripping guitar solo before the final chorus. Raw, aggressive, high-impact live-room mix with clear vocals and crushing guitars.
Eric Rickstraw
Country rap fused with thrash metal, heavy metal, hard rock, and speed metal. Fast driving double-kick drums, galloping distorted guitars, low drop-tuned riffs, sharp snare, gritty country twang guitar accents, and a muscular bass foundation. Aggressive male rap verses with a rough Southern edge, shouted gang-vocal chorus, tight stop-start breakdown, rapid guitar solo, loud live-room punch and raw, hard-edged mix. Competitive, defiant, triumphant energy.
Fight Life With A Smile
Hard-driving arena rock anthem with a muscular four-on-the-floor pulse, pounding live drums, distorted power-chord guitars, gritty bass, and a brief rising guitar lead into the final chorus. Start with a restrained, determined verse, build through a tension-lifting pre-chorus, then hit a huge chantable chorus with layered gang responses. Strong raspy male lead vocal, urgent and resilient; polished but raw-edged stadium mix, bold dynamics, triumphant finish.
Fight Life With A Smile
High-energy cinematic hard rock anthem with a muscular modern groove, driving kick and snare, distorted guitars, gritty bass, and urgent male lead vocals. Start with a tense, restrained guitar pulse, build into punchy verses, then open wide into a massive chantable chorus with stacked backing vocals; add a brief halftime bridge that surges into a final double chorus. Raw determined vocal delivery, tight punchy drums, broad arena-sized mix, clear vocal center.
awerysopelea - ĂA NOUS REGARDE
Piano-led multilingual alternative hip-hop with French chanson phrasing and expansive soul choruses, 92 BPM. Start with ONLY a two-bar piano pickup, then the full French chorus BEFORE any verse. Memorable repeating piano motif, deep warm bass, dry swung hip-hop drums, bowed viola and sparse muted-trumpet replies. Strong female French lead: clear diction, melodic, raw and increasingly defiant. Close male German rap: conversational, rhythmically sharp, building to controlled anger. Both sing the short English hook. Keep the chorus melody identical and immediately memorable; first chorus is strong, later ones grow wider. French verse becomes intimate, then drums return for the German verse. Bridge drops to piano and voices; one-beat silence before the biggest final chorus, with soaring female vocals and layered harmonies. Finish with piano and a restrained trumpet answer. Emotional studio recording, vocals upfront; no EDM drop, rock riffs, audience or cheering.
Princess of the Day
Upbeat playful pop-rock singalong with bouncy piano, punchy live drums, handclaps, bright electric guitar accents, and a buoyant bass groove. Friendly energetic lead vocal with group responses; verses feel conversational, chorus opens into a catchy chant, brief stop-start break, then a jubilant final chorus. Clean warm production, clear vocals, lively but comfortable dynamics.
Kleveta
rock, electronic, violin, flute
STAIRWELL TO HELL prayer A3
Original Christian progressive folk-rock epic, about 7 minutes. Slow fingerpicked acoustic opening in E minor, swaying 6/8, low cello, subtle organ. Warm male storyteller; dark verses build through bass, toms and electric guitar into a brief heavy warning. Keep all prayer and Scripture wording in the later redemption section. Strip back, then shift to driving 4/4 near 100 BPM and brighten toward G major. Deliver prayer lines in clear rhythmic speech over a steady groove; allow extra bars for long lines, never rush or alter words. Sung rhyming responses follow each prayer line. Grow into ringing guitars, powerful live drums, melodic guitar solo and gospel call-and-response. Salvation through Jesusâ death and resurrection is the climax. Strong hook, clear consonants, organic instruments, wide dynamics, original melody and riffs. End with triumphant Amen vocals, then a gentle final invitation., electric guitar, acoustic guitar
STAIRWELL TO HELL nice intro A3
Original Christian progressive folk-rock epic, about 7 minutes. Slow fingerpicked acoustic opening in E minor, swaying 6/8, low cello, subtle organ. Warm male storyteller; dark verses build through bass, toms and electric guitar into a brief heavy warning. Keep all prayer and Scripture wording in the later redemption section. Strip back, then shift to driving 4/4 near 100 BPM and brighten toward G major. Deliver prayer lines in clear rhythmic speech over a steady groove; allow extra bars for long lines, never rush or alter words. Sung rhyming responses follow each prayer line. Grow into ringing guitars, powerful live drums, melodic guitar solo and gospel call-and-response. Salvation through Jesusâ death and resurrection is the climax. Strong hook, clear consonants, organic instruments, wide dynamics, original melody and riffs. End with triumphant Amen vocals, then a gentle final invitation., electric guitar, acoustic guitar
3
[Atmospheric alternative rock, experimental psychedelic grunge, hypnotic progressive rock, 100 BPM, 4/4. Dark, spacious, organic, emotionally immersive. MAIN MELODIC MOTIF: B2âC3âD3âA2, based on the repeating piano phrase. Three ascending notes followed by a lower sustained A. Preserve the recognizable melodic contour, deliberate spacing, and falling resolution. Let the motif cycle throughout the composition, gradually transforming through instrumentation, harmony, rhythmic intensity, and texture. Warm vintage piano, resonant melodic bass, earthy tom-driven percussion, shimmering guitar harmonics, gritty distorted guitars, subtle industrial electronics, and haunting atmospheric layers. Alternating intimate restraint with explosive, controlled chaos. Raw human character, hypnotic repetition, unconventional dynamics, and psychedelic depth.]
Break the Rules
Dark pop-rock, hard-panned rhythm guitars with Nightcore speed-up, driving distorted drums, tense violin stabs and sustained lines, fast-paced pulse, deep male baritone vocals with forceful delivery and layered choruses.
Flip-Flop Rhythm
playful roots reggae with a relaxed one drop groove offbeat Reggae, Ska, Rock, Pop Rock guitar warm rounded bass crisp rim click and shaker and bright organ bubbles lead vocal is theatrical and wry with jaunty backing harmonies on the hook keep the verses conversational let the chorus open into a catchy singalong then finish with a brief instrumental tag polished sunny mix with roomy percussion
Static in the DX Land
Rock electric guitar solos, drums lite country
CHASE THE HIGH
Dark, gritty, polished 80s-influenced melodic hard rock. 126 BPM. Driving bass, punchy drums, crunchy distorted guitar riffs and a dangerous, infectious groove. Strong male lead vocal throughout, gritty, confident and slightly raspy, clearly dominant in every section. Female vocals used selectively as powerful backing harmonies and short responses in the pre-choruses and choruses, adding emotion and intensity without taking over the lead. Immediate crunchy guitar riff and drums, male vocal starts straight away. No spoken or whispered intro. Huge, catchy, explosive chorus. Dynamic stripped-back bridge with male lead, building into a powerful final chorus with layered female harmonies. Short, fiery melodic guitar solo. Professional polished studio rock production. No crowd noise, chanting or audience sounds.
Opa Kalle, wir sind Familie
Modern Rap Trance, 136 BPM, energetic rhythmic male rap verses, deep confident spoken intro, melodic euphoric trance chorus, powerful catchy vocal hook, emotional male singing, subtle female backing harmonies, driving four-on-the-floor kick, rolling bassline, massive atmospheric synthesizers, bright uplifting trance leads, rhythmic synth arpeggios, cinematic risers, electronic vocal chops, huge melodic breakdown, explosive euphoric trance drop, festival atmosphere, powerful modern production. Rap dominates the verses, sung vocals only in the chorus. No Schlager, no Ballermann, no pop-rock, no hard techno, no excessive percussion.
Beauty And Beast
Dark Pop, Dark k Pop, Theatric glam Rock
Run away
Sad K-pop, modern metal/rock production with smooth dynamics; rich deep siren female alto, expressive clean vocals. Celtic Spirit. Clean singing!!! Only one female voice. Rare, unconventional. Beautiful melody. Very sad an emotionally . Extream sad
THE VOICES IN THE WALLS
Dark, gritty, polished 80s-influenced melodic hard rock at 126 BPM. Heavy crunchy guitar riffs, driving bass, punchy hard-hitting drums and an unsettling atmosphere. Gritty, slightly raspy male lead with emotional intensity and vulnerability. Strong female vocals woven throughout from the first pre-chorus, powerful harmonies and responses. Explosive melodic choruses with a memorable hook. Short, soaring emotional electric guitar solo. Stripped-back bridge building into a huge final chorus. INTRO: Immediate crunchy electric guitar riff with punchy drums. Male lead starts singing immediately. No spoken intro, no whispers, no cinematic build-up, no crowd or audience sounds. Keep the verses tense and unsettling, then open into huge powerful choruses. Professional polished studio rock production, radio-ready mix.
I'M STILL STANDING
126 BPM. Polished, gritty, emotional melodic hard rock with a powerful 80s rock influence. Strong melodic electric guitar riffs, punchy live drums, driving bass and a huge, soaring chorus. Male lead vocal, gritty, slightly raspy and emotionally expressive, moving from restrained vulnerability in the verses to powerful delivery in the chorus. Strong female harmonies woven throughout from the first verse, with powerful female backing vocals and harmonies lifting the pre-chorus and chorus. Verses should feel intimate and honest, building naturally into an explosive, memorable melodic chorus. Include an emotional electric guitar solo after the second chorus, followed by a stripped-back, heartfelt bridge that builds into a massive final chorus with layered male and female vocals. Immediate guitar and drum opening, no spoken intro, no whispering, no talking, no cinematic intro, no crowd or audience sounds. Authentic, powerful studio rock production.
Redline
Explosive dark K-pop/trap rock, 150 BPM, under 4 minutes. Solo female lead as Crimson Cecilia: smoky confident verses, razor-sharp melodic rap, commanding whispers and fierce soaring choruses with stacked self-harmonies. Clear English and Korean pronunciation. Crushing deep 808s, sliding sub-bass, punchy kicks, sharp trap hi-hats, down-tuned guitar riffs and aggressive live drums. Make âREDLINEâ a powerful, memorable hook with a massive half-time drop. Use chopped female vocals in the post-chorus, brief wicked laughs between phrases and sudden silence before bass impacts. Stop-start breakdown with whispered commands, followed by an eight-bar screaming guitar solo over double-kick drums. Strip the bridge to a thin haunting synth and intimate vocal, then slam into the biggest final chorus. Dangerous confidence, controlled chaos and precise rhythmic delivery. Keep vocals clear above the bass. Tight transitions, no long intro, no dubstep. End abruptly with two sub hits and a quiet laugh.
Amaneti i Elizabetës
Greek Mediterranean melancholic folk-rock, subtle Bosnian sevdah, 122 BPM, minor key. Sad, intimate, dignified; driving rhythm, no festive mood. ONE powerful male baritone singing in ALBANIAN: deep, gritty, raspy, melodic, emotional, clear pronunciation, restrained folk ornaments. Bouzouki lead, acoustic guitar, warm bass, tight live drums, subtle percussion, soft accordion and violin. DRY STUDIO SOUND, close upfront vocal. NO audience, chatter, applause, cheering, backing vocals, choir, vocal doubles, shouts, hall reverb or echo. Start singing immediately. Between verses: maximum ONE BAR, preferably seamless. No long intro, solos, repeated verses or added words. Keep instrumental passages extremely short. Use the LONGEST AVAILABLE DURATION. Sing ALL lyrics in order, including EVERY LINE OF VERSE 13. Do not fade out or end before the final words: âkĂ«tĂ« fjalĂ« brez pas brezi e ço!â Brief ending only after all lyrics. No rap, narration or EDM.
Amaneti i Elizabetës
Greek Mediterranean melancholic folk-rock with subtle Bosnian sevdah influences, 116 BPM, steady driving rhythm, minor key, passionate and hopeful. Strong male baritone: deep, gritty, raspy, commanding, with powerful melodic singing. SING IN ALBANIAN with clear native pronunciation. Lead Greek bouzouki, rhythmic acoustic guitar, warm electric bass, punchy live drums, Mediterranean percussion, subtle accordion and expressive violin. Light electric guitar supports the emotional peaks. Organic live-band sound, vocals upfront. Use the LONGEST AVAILABLE GENERATION DURATION. Sing ALL supplied lyrics completely and in order. Begin vocals immediately. Compact phrasing, continuous narrative flow, very brief transitions. No repeated verses, added lyrics, long solos, spoken narration or rap. Do not rush or swallow words. Do not start the outro or fade out until the final supplied line is fully sung. No EDM.
The Bells
Dark Viking trap rock, heavy orchestral band, 150 BPM, target 4:20, under 5 minutes. Female lead as Crimson Cecilia, the terrifying monster her master created. Smoky intimate verses, rapid rhythmic delivery, soaring melodic choruses, brief fierce screams. English lyrics with clear, emotionally intense Japanese lines. Crushing distorted 808 bass, sliding sub-bass, down-tuned guitar chugs, thunderous war drums, ominous Nordic horns, rapid trap hi-hats and massive half-time drops. Layered female war chants. Cold whispered master commands interrupt her singing, triggering explosive bass impacts. Convey dangerous beauty, devastating power, forced obedience and buried grief as she destroys a kingdom. Open with distant horns and heartbeat bass; build into an enormous hook. Savage breakdown, fragile cinematic bridge, apocalyptic final chorus, abrupt whispered ending. Keep vocals clear and forward, bass deep and physical, drums punchy. No extended solos or long outro.
The Age Of Crimson
Epic cinematic Viking rock/trap anthem, 150 BPM, under 5 minutes. Powerful solo female lead as Crimson Cecilia: commanding low verses, sharp melodic rap, chilling whispers and soaring fierce choruses. Tell of her loyalty to the Crimson Bloods as Eri and her sister Xiami defend the people she once protected. Crushing pulsing sub-bass, explosive 808 hits, down-tuned guitar riffs, thunderous Nordic war drums, ominous horns, sweeping strings and crisp trap hi-hats. Clear English and Japanese pronunciation. Open with wind, distant bells and heartbeat bass; unleash massive half-time choruses with layered female harmonies. Include a 20-second intense guitar solo: mournful opening melody, fierce bends, rapid shredding and screaming sustained notes over double-kick drums. Brutal stop-start breakdown, fragile piano bridge, then an apocalyptic final chorus. Keep vocals clear, transitions tight and bass deep. End with dying horns, two heartbeat hits and a cold whisper. No dubstep.
Hallowen rockanrolñ
Rockanroll, twis bailable
Siete a Cinco
Epic Spanish hard rock anthem, powerful raspy male vocals, emotional piano intro, explosive electric guitars, thunderous drums, soaring melodic chorus, stadium rock atmosphere, emotional tribute, triumphant ending, 125 BPM.
Sous la mĂȘme Ă©toile de NoĂ«l
Direction musicale pour crĂ©er la chanson Style : Christmas Megamix Ă©pique, symphonic rock, pop Ă©lectro, gospel et rock d'arĂšne. Voix : Soliste masculin puissant, soliste fĂ©minin cristallin, chĆur d'enfants, immense chorale mixte Ă mille voix. Instruments : Orchestre philharmonique, violons, cuivres, cloches tubulaires, guitares Ă©lectriques, batterie rock, basses Ă©lectro et synthĂ©tiseurs modernes. Production : 128 BPM, stĂ©rĂ©o cinĂ©matographique, transitions entre Ă©poques, montĂ©e Ă©motionnelle, refrains explosifs et final gigantesque.
L'Hiver Devient Merveilleux
Tempo de 128 BPM, ambiance pop-rock symphonique cinĂ©matique. MĂ©langer batterie rock, grosses guitares Ă©lectriques, basses Ă©lectro modernes, violons, cuivres, timbales et chĆurs mixtes monumentaux en plusieurs harmonies. Voix principale puissante et expressive, refrains chantĂ©s comme par mille personnes. Final grandiose avec montĂ©e orchestrale, double grosse caisse et explosion de chĆurs, dans une atmosphĂšre de fĂȘte hivernale fĂ©erique.
Rassemble-nous encore
Modern epic symphonic pop rock, 96 BPM, emotional powerful warm male lead vocals, beautiful female harmonies, massive mixed choir, cinematic string orchestra, grand piano, soaring violins, epic drums, electric guitars, deep bass, atmospheric synthesizers, uplifting Christmas season atmosphere, emotional verses, explosive anthemic choruses, spectacular orchestral climax, professional studio production, French lyrics.
B&E
metal, Thrash, 80s, duble tup, punk rock.
Brand New Day
Rock country western Make voice Fiddle
Bleib kiffm, ano bschissn
folk-rock, Bavarian folk
Bleib kiffm, ano bschissn
Bavarian dialect folk-rock with a brisk pub-singalong groove, acoustic strummed guitar and punchy live drums, warm bass, occasional accordion flourishes, earthy male lead vocal with conversational regional phrasing, cheeky and self-assured delivery, verse lines clipped and rhythmic, chorus broad and memorable, lively room sound with a clear modern mix
Rat King Legends
Medium-paced late-90s/early-2000s skate pop-punk, irreverent melodic punk-rock energy, brisk straight eighth-note guitars, punchy live drums, driving bass, catchy gang-shouted chorus, nasal playful male lead vocal with conversational verses, tight stop-start breaks for comic timing, polished but scrappy band mix, big final chorus
Rat King Legends
Alternative rock, post-grunge, hard-driving modern rock with scrappy arena energy. Crunchy drop-tuned guitar riffs, punchy live kit, thick melodic bass, and a shout-along gang-vocal chorus. Verses stay tight and conversational over chugging guitars; build into a huge, sarcastic chorus with stacked vocals, then a stop-start bridge that breaks into a final double-chorus. Gritty expressive lead vocal, playful timing, punchy polished band mix.
Rat King
Alternative rock, post-grunge, hard-edged comedic arena-rock anthem. Mid-tempo driving 4/4 groove, crunchy drop-D electric guitar riff, thick bass, punchy live drums with a half-time chorus and explosive cymbal crashes. Gritty male lead vocal, conversationally sarcastic verses that break into raw shouted choruses; gang vocals chant the clan name on the hook. Start with a tight riff and clipped vocal; verses leave room for punchlines, pre-chorus builds with rising guitars, chorus opens wide, bridge drops to a stop-start breakdown for shouted call-and-response, then final chorus hits bigger with a scrappy, triumphant ending. Rough-edged but clear modern rock mix, dynamic and energetic.
Rat King Legends
comedy reggae gaming anthem relaxed one drop groove with a buoyant offbeat Reggae, Ska, Rock, Pop Rock round bass crisp rim click and shaker warm organ bubbles and bright muted guitar chops verses use conversational male sing rap with playful call and response ad libs the chorus opens into a rowdy mixed group chant start with a brief spoken clan roll call build with handclaps and harmony layers into the final chorus then end on a loose laughing tag clear punchy live room production with warm bass and roomy group vocals
Rat King Legends
comedy reggae with a relaxed one drop groove warm round bass offbeat Reggae, Ska, Rock, Pop Rock guitar and bubbling organ crisp rim click drums occasional playful brass stabs lead vocal is theatrical and cheeky with a mixed group gang chorus for the clan hook clear english lyrics lively call and response arrange as a laid back verse bigger chantable chorus escalating verse full of raid night mishaps then a triumphant final chorus organic band feel buoyant and funny with a polished but loose live room mix
Rat King Legends
High-energy comedic pop-punk anthem with arena-rock punch, brisk driving drums, chunky distorted guitars, gang-shouted clan responses, a charismatic lead vocal with playful urgency, big melodic chorus, stop-start breaks for punchlines, escalating final chorus, polished but deliberately chaotic live-room energy.
Rat King Legends
Comedic anthemic hard rock with a rowdy arena singalong, driving distorted electric guitars, punchy live drums, bass guitar, gang-shouted backing vocals, and a big melodic chorus. Verses use brisk conversational storytelling and sharp comic timing; build into a loud triumphant chorus, then a playful breakdown and final crowd-sized refrain. Energetic, warm, scrappy band mix with clear lead vocals and audible group shouts.
Rat King Legends
Punk rock, alternative rock, pop punk; brisk driving eighth-note power-chord guitars, tight live-kit snare and kick, melodic bass locked to the kick, urgent raspy lead vocal with gang-shouted chorus responses. Start with a short palm-muted guitar pickup, launch into compact verse grooves, lift with a rising pre-chorus, then open into a big chantable chorus; add a brief half-time bridge before the final double chorus. Bright, raw-edged guitar mix, punchy drums, clear vocal up front.
Rat King Legends
Alternative rock, post-grunge, hard-edged arena rock with a driving mid-tempo groove; palm-muted distorted guitar verses open into wide power-chord choruses, weighty live drums, melodic bass, and a brief lead-guitar lift before the final chorus. Gritty, forceful male rock vocal with clear hooks and gang harmonies on the refrain; punchy, raw-edged guitars balanced by a polished, spacious vocal mix.
Rat King Legends
Dark cinematic electronic rock anthem, tense minor-key pulse with distorted low synth bass, industrial percussion, sharp toms, and gritty electric guitar accents. Verses are restrained and conspiratorial, with close-miked low male vocals; choruses widen into forceful layered gang vocals and heavy drums. Add brief eerie breaks, rising noise swells, and a final chorus that feels defiant and unsettling; polished but rough-edged mix.
Rat King Legends
Aggressive early-2000s rap-rock with cinematic sci-fi game-score tension, downtuned distorted guitars, tight syncopated live drums, sub-bass, and restrained electronic textures. Verses use rhythmic male rap-singing with clipped phrasing over sparse guitar and bass; pre-chorus rises with sustained chords; chorus opens into an anthemic melodic male hook with stacked harmonies and wide guitars. Add a brief half-time breakdown before the final chorus. Polished, punchy, dramatic mix with clear vocal-forward balance.
Rat King Legends
Aggressive early-2000s rap-rock and alternative metal, tight syncopated drop-tuned guitar riffs, punchy live drums, gritty turntable-like textures, tense quiet verse opening into explosive half-time choruses, male vocals alternating rhythmic rap and melodic shouted hooks, polished but raw-edged arena mix, lyrics about a tight-knit sci-fi shooter clan, teamwork and hard-won victory
Rat King
Aggressive early-2000s rap-rock, tight syncopated low-tuned guitar riffs, punchy live drums, turntable-like rhythmic textures, alternating urgent male rap verses and soaring melodic male chorus, dynamic quiet-to-heavy transitions, polished arena-sized mix with gritty vocal edge
The Smallest Teeth
Heavy alternative rock with brooding post-grunge weight, drop-tuned distorted guitars, thick melodic bass, punchy live drums, and tense dynamic builds. Verses use restrained, gritty male vocals over clipped guitar figures; choruses open into a huge melodic hook with layered harmonies. Add a brief atmospheric guitar interlude before the final chorus, then end with a hard, decisive stop. Polished but raw-edged band mix, dramatic and mythic.
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