Rock IA — guitares saturées, riffs énergiques, batteries solides.
tempo moyen 131 BPM (de 62 à 210) · 106 titres · 1 instrumentaux · énergie moyenne 73 %
Les consignes réellement utilisées pour produire les 106 titres Rock du catalogue, relevées sur les morceaux eux-mêmes.
alternative rock, pop-punk, emocore, screamo — 12 titres, dont « This Is Kev »gaming rock song, rock visualizer — 10 titres, dont « Somewhere Between »hard rock, high-voltage twin guitar attack, open-string power chords with heavy palm mutes, raw overdriven Marshall stack tone, swaggering mid-tempo shuffle groove, four-on-the-floor kick with a cracking snare backbeat on two and four, thick driving eighth-note bass locked to the kick, raspy high-register male lead vocal with grit and howl, gang backing vocals shouting the chorus hook in unison, blistering pentatonic guitar solo over the bridge, cowbell accents, hand claps on the last chorus, live-room production, dry and close-miked, minimal reverb, bar-room energy, big singalong chorus, stadium rock swagger, no keyboards, no synths — 9 titres, dont « Thunder Coming Down »shoegaze and dream pop, walls of layered reverb-drenched guitars, heavy chorus and flanger, voice buried low in the mix as another texture, steady unfussy drums, melodic bass carrying the tune, analog warmth, Mid-tempo a 104 BPM en sol majeur. Une seule guitare en larsen pendant vingt secondes, puis six couches entrent d un coup. Batterie simple, noires a la grosse caisse. La voix arrive tard et reste sous les guitares. Forme AABA sans refrain identifiable. Coupure nette a deux minutes, quatre mesures de silence, reprise complete. Fin en larsen qui s eteint. — 9 titres, dont « Everything Clears »pop rock, bright jangly electric guitars with chorus effect and light overdrive, driving but relaxed backbeat, melodic bass countermelodies walking under the chords, layered vocal harmonies stacking on the chorus, big singalong hook, tambourine and handclaps, warm analog-leaning production with wide stereo guitars, clean sung male lead vocal with warmth and range, tasteful short melodic guitar solo, clear verse-prechorus-chorus structure, no screaming, no heavy distortion, steady mid-tempo groove, palm-muted verses opening into a wide chorus — 3 titres, dont « Bus 42 »gaming rock song, cinematic rock, rock visualizer — 3 titres, dont « My Final Oath »rock visualizer — 3 titres, dont « Taping Cracks in Armor »A key turning in a lock, a dry hinge swinging, one cat meow, footsteps on wood, a half-mumbled voice, then upright piano played hard with the sustain pedal down. Bruised late-night piano rock, 116 BPM, major, energy mid, warm stone room, piano close-miked with pedal noise left in, piano and voice first, band enters at the second verse, huge last chorus dropping back to piano and the door closing. Slide guitar joins only the final chorus. Male lead vocal, early thirties, warm mid-range chest voice going raspy and strained when pushed high, near-shouting yet melodic on the chorus, slight French-inflected American English, close-miked with audible breath. Drums loud and roomy, guitars wide and overdriven, tape saturation, no quantization. No autotune, no trap drums, no orchestral strings, no double kick. — 1 titre, dont « Orson Waits Up »