F the Club Up (feat. Zaykel) - Prod. by Enzortiz

Slide!

Romeo killed jullet (Prod yuuta)

A male vocalist performs a spoken word piece over a sparse, melancholic electronic soundscape, The instrumentation primarily features a clean electric guitar playing arpeggiated chords, a deep sub-bass, and a simple drum machine providing a consistent, understated beat, The tempo is slow, and the key is minor, contributing to a somber and introspective mood, Production elements include a prominent reverb on the guitar and a subtle delay on the vocals

What I Create Is Enough

VISION 5

A male vocalist sings in a baritone range over a rock arrangement, The song features a clean electric guitar playing a melodic line, a bass guitar providing a walking bassline, and a drum kit with a consistent rock beat, The tempo is moderate, and the key is major, The song structure includes verses and a chorus, Production elements include a clear mix with a slight reverb on the vocals and guitars

The Way I Shouldnt Go

The song is an alternative rock piece with a driving rhythm section, featuring a male vocalist, The tempo is moderately fast, and the key is A minor, The instrumentation includes electric guitar, bass guitar, drums, and a synthesizer providing atmospheric pads and occasional melodic lines, The electric guitar plays a prominent role, with both clean and distorted tones, often utilizing delay and reverb effects, The bass guitar provides a solid, rhythmic foundation, The drums feature a consistent kick and snare pattern with active hi-hat work, driving the song forward, The male vocals are clean and melodic, delivered with a slightly melancholic tone, The song structure follows a verse-chorus format with instrumental breaks, The chord progressions are primarily minor, contributing to the introspective mood, Production elements include a clear and balanced mix, with the vocals sitting prominently in the foreground, The overall feel is energetic yet contemplative

No Final

À force de On se retrouve à

The Ghazal Comeback Why Bangla Poetry is Thriving Again

Upbeat electronic dance track with driving four-on-the-floor rhythm, Kick, snare with short reverb, closed and open hi-hats, Deep, sustained bass synth forms the foundation, Main arpeggiated synth melody plays call-and-response with secondary percussive synth, Simple major key chord progression creates uplifting vibe, Clear, warm mix; voice feminine, expressive, smooth, and in tune, sitting naturally in mid-low to mid frequencies without harsh highs, Occasional synth swells and filter sweeps build energy, Tempo moderately fast, EDM structure with buildup, breakdown, and drop emphasizing bass and melodic synths

Jeanne Taxe

Nom : John Smith (pseudonyme sobre, presque générique, qui lui donne une aura universelle, comme s’il pouvait être “n’importe qui”).
	•	Style : il compose des morceaux minimalistes et introspectifs, souvent basés sur des boucles de 4 accords. Sa voix est grave, posée, parfois parlée plus que chantée, et toujours mise en avant.
	•	Influences : entre baroque et musique électronique moderne (electro 2025, dub, urbano-pop, drill). Il aime jouer sur le contraste entre des harmonies anciennes (chaconnes, ostinatos, basses graves) et des textures synthétiques actuelles (808, pads, autotune léger).
	•	Ambiance : ses morceaux sont souvent sombres mais lumineux à la fois, poétiques, minimalistes. Ils cherchent la clarté et l’honnêteté, sans surcharge sonore.
	•	Démarche : il expérimente avec l’IA, mais toujours dans une recherche personnelle cohérente : rester hors du marché, développer une œuvre singulière, avec une identité sonore reconnaissable.
	•	Thèmes : mémoire collective (années 80-90, génération X), fragilité de l’acte artistique, rapport au temps, au silence, à l’invisible

What I Create Is Enough

john smith

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