nixamp 0.76.0 → 0.77.0

package/dist/ai-label.js

@@ -720,6 +720,321 @@ export const ROSTER = {
         bio: "A consort that tunes to candlelight pitch and plays as if the patron is still listening from the gallery.",
         themes: "dance suites, concerti grossi, fugues and chaconnes; harvest festivals, royal processions, candlelit courts, rain on old cathedrals",
     },
+    "bluebeat-tailors": {
+        name: "Bluebeat Tailors", genre: "Ska",
+        sound: "early-1960s Kingston first-wave ska, walking upright bass, scratchy offbeat guitar, upright piano shuffle, a four-horn front line of trumpet, trombone, tenor and alto sax, tape-room warmth, 110-125 BPM",
+        voice: "smooth male tenor with a gentle Jamaican lilt, close harmony backing vocals answering every line",
+        bio: "They cut their records in the back of a dressmaker's shop and paid the trombonist in suits.",
+        themes: "Saturday sound systems, sharp new suits, courting on the seawall, rent day, the boat to England, a dance that ends at dawn",
+    },
+    "checkerboard-union": {
+        name: "Checkerboard Union", genre: "Ska",
+        sound: "1979 British two-tone ska, racing skank guitar, cheap combo organ, tight snare rimshots, choppy trumpet and trombone hooks, post-punk edge, 150-175 BPM",
+        voice: "sardonic male lead in a flat Midlands accent, half-sung half-shouted, with a female co-vocal trading lines",
+        bio: "A factory town band who turned the dole queue into a dance floor.",
+        themes: "closed factories, bus shelters, dole office small talk, a pub fight over nothing, unity on the dance floor, tower blocks",
+    },
+    "pocket-fireworks": {
+        name: "Pocket Fireworks", genre: "Ska",
+        sound: "mid-1990s California third-wave ska-punk, fast upstroke guitar that flips into distorted power-chord choruses, punchy bass, crashing drums, bright trumpet-trombone-bari sax horn lines, 160-200 BPM",
+        voice: "nasal, energetic female lead with a cheeky snarl, gang-shout backing vocals on every chorus",
+        bio: "Seven friends, three horns, one van with no second gear.",
+        themes: "suburban boredom, skate-park injuries, minimum-wage shifts, a basement show broken up by cops, best friends, leaving town",
+    },
+    "driftglass-four": {
+        name: "The Driftglass Four", genre: "Surf Rock",
+        sound: "1962 Southern California instrumental surf, single-coil guitar through dripping spring reverb, staccato tremolo picking, galloping tom-heavy drums, picked bass, rhythm guitar chops, bright and sunny, 150-175 BPM",
+        voice: "instrumental: two reverb-soaked guitars, bass and drums in a small studio",
+        bio: "Four lifeguards who learned to play between shifts and never wrote a single word.",
+        themes: "point breaks, pier pilings, woodie wagons, the first swell of summer, wipeouts, bonfires on the sand, sunrise sessions",
+    },
+    "sandbar-seance": {
+        name: "Sandbar Séance", genre: "Surf Rock",
+        sound: "dark surf noir with spaghetti-western drama, minor-key baritone guitar twang, cavernous spring reverb, tremolo swells, mariachi-style trumpet, haunted organ, floor-tom gallop, 95-140 BPM",
+        voice: "instrumental: baritone guitar, trumpet and organ in a cavernous room",
+        bio: "Plays surf music for the beach after the tourists leave and the fog comes in.",
+        themes: "night tides, shipwrecks, desert highways to the coast, lost swimmers, border towns, ghost piers, fog horns",
+    },
+    "gull-rock-rangers": {
+        name: "Gull Rock Rangers", genre: "Surf Rock",
+        sound: "modern Australian garage surf, overdriven reverb guitar with fuzz on the leads, combo organ, punk-fast drums, distorted bass, raw live-to-tape recording, 170-200 BPM",
+        voice: "instrumental: fuzzed reverb guitars, combo organ, bass and drums played loud",
+        bio: "Recorded their first record in a boat shed and their second in a storm.",
+        themes: "cold southern swell, sharks, cliff jumps, van breakdowns, cheap motels, bushfire skies, chasing a cyclone swell",
+    },
+    "earl-tolliver": {
+        name: "Earl Tolliver", genre: "Rockabilly",
+        sound: "1955 Memphis-style rockabilly, slapback echo on everything, slapped upright bass, hollow-body electric guitar with thumb-picked licks, snare-and-brush drums, bare acoustic rhythm, 160-190 BPM",
+        voice: "wiry Southern male tenor with hiccups, yelps and a sly grin in every line",
+        bio: "A tractor mechanic who drove four hours to a studio and came home famous in two counties.",
+        themes: "two-tone Fords, county fairs, a sheriff's daughter, Friday paychecks, jukebox nickels, Sunday shoes on dirt roads",
+    },
+    "dottie-calhoun": {
+        name: "Dottie Calhoun", genre: "Rockabilly",
+        sound: "1957 Texas rockabilly with a honky-tonk edge, pounding upright piano, twangy hollow-body lead guitar, slapped bass, steady snare, handclaps, raw and rowdy, 150-180 BPM",
+        voice: "brassy, growling female alto that snaps into a wild shout, playful and fearless",
+        bio: "The girl the radio stations called too loud, so she got louder.",
+        themes: "fast cars and slow boys, drive-in movies, roadhouse fights, Saturday night curfews, leaving a cheating man in the dust",
+    },
+    "cotter-pins": {
+        name: "The Cotter Pins", genre: "Rockabilly",
+        sound: "modern psychobilly and neo-rockabilly, ferociously slapped upright bass, crunchy hollow-body guitar through a hot amp, stand-up snare and tom, horror-movie twang, 180-220 BPM",
+        voice: "gravelly male shouter with a manic howl, gang-yell backing vocals",
+        bio: "A trio of hot-rod welders who play like the garage is on fire.",
+        themes: "B-movie monsters, junkyard hot rods, graveyard dates, bowling alley brawls, tattoo parlours, cars that will not start",
+    },
+    "harlan-crowe-orchestra": {
+        name: "Harlan Crowe Orchestra", genre: "Swing",
+        sound: "1939 ballroom big band swing, five saxes, four trumpets, four trombones, clarinet lead, walking bass, four-to-the-bar guitar, hi-hat swing, lush and polished, 140-180 BPM",
+        voice: "velvet male baritone crooner, relaxed phrasing a fraction behind the beat, warm and debonair",
+        bio: "Played every hotel ballroom on the line from Chicago to the coast and never once missed a downbeat.",
+        themes: "ballroom dates, train-station goodbyes, borrowed tuxedos, moonlight on the river, payday nights, dancing cheek to cheek",
+    },
+    "vivian-marchetti": {
+        name: "Vivian Marchetti", genre: "Swing",
+        sound: "1946 jump swing and jump blues, small big band of three saxes and two trumpets, honking tenor solos, boogie piano, slapping upright bass, driving shuffle drums, 150-200 BPM",
+        voice: "powerful, sassy female belter with a husky low end and a wink in every phrase",
+        bio: "A shipyard welder during the war who never went back to quiet.",
+        themes: "after-hours clubs, sailors on leave, shipyard shifts, a two-timing trumpet player, nylons, rent parties, staying out till sunrise",
+    },
+    "zoot-parade": {
+        name: "Zoot Parade", genre: "Swing",
+        sound: "1990s neo-swing revival, punchy horn section with bari sax, crunchy hollow-body guitar, upright bass, tight swing drums with rock power, bright modern mix, 160-210 BPM",
+        voice: "brash, cocky male lead with a growl and a grin, punchy band shouts on the hooks",
+        bio: "A former punk band who bought suits and a horn section and never looked back.",
+        themes: "thrift-store zoot suits, lindy hop nights, hot rods, bad decisions in good shoes, last call, dance-floor rivalries",
+    },
+    "isadora-lune": {
+        name: "Isadora Lune", genre: "Bossa Nova",
+        sound: "classic early-1960s bossa nova, solo nylon-string guitar and brushed snare, soft upright bass, sparse piano chords, alto flute, intimate and minimal, 120-140 BPM",
+        voice: "hushed, breathy female alto, almost speaking, straight tone with no vibrato",
+        bio: "Sings like she is telling you a secret on a balcony while the city sleeps.",
+        themes: "late afternoons by the sea, a lover's empty chair, rain on terracotta, coffee gone cold, letters in a drawer, slow walks home",
+    },
+    "caio-seraphin": {
+        name: "Caio Seraphin", genre: "Bossa Nova",
+        sound: "late-1960s orchestral bossa and jazz-samba, nylon guitar with lush string arrangements, muted trumpet, soft flute, upright bass, brushed drums, cinematic and warm, 110-140 BPM",
+        voice: "soft, whispered male baritone, gentle and conversational, never above a murmur",
+        bio: "A former harbour pilot who writes love songs in the shape of tide tables.",
+        themes: "harbour lights, ferries leaving at dawn, a seaside hotel, unanswered telegrams, the last tram, the scent of jasmine at night",
+    },
+    "lagoon-siesta": {
+        name: "Lagoon Siesta", genre: "Bossa Nova",
+        sound: "modern lounge bossa duo, nylon guitar and Rhodes over a soft programmed bossa beat, upright bass, light shaker, vinyl warmth and subtle electronic textures, 100-125 BPM",
+        voice: "soft, airy female voice doubled by a low male murmur on choruses, intimate and cool",
+        bio: "A pair who met in a hotel bar and have been playing its last set ever since.",
+        themes: "rooftop pools at dusk, airport lounges, hotel keys, summer heat, half-finished cocktails, postcards never sent",
+    },
+    "ysabel-corrales": {
+        name: "Ysabel Corrales", genre: "Salsa",
+        sound: "salsa romántica, lush string pads under bright trumpets and trombones, rolling piano montuno, tumbao bass, congas and timbales, smooth 2-3 son clave, a mid-tempo sway, 88-100 BPM",
+        voice: "warm, velvety female mezzo with a catch in the high notes, tender verses that open into fierce pregones",
+        bio: "Sings about leaving men like she is reading the bill aloud at the table.",
+        themes: "a married lover at the Saturday dance, a ring left on the dresser, nursing school night shifts, her mother's hands, slow dancing alone",
+    },
+    "fourth-floor-montuno": {
+        name: "Fourth Floor Montuno", genre: "Salsa",
+        sound: "salsa dura big band, four-trombone front line with two trumpets, hard driving piano montuno, timbales breaks, cowbell on every beat of the mambo, jazzy horn solos, long montuno vamps, 180-210 BPM",
+        voice: "gritty male sonero with a barking tenor, quick improvised pregones, a shouting coro of four bandmates behind him",
+        bio: "A twelve-piece band that rehearses in a walk-up and plays like the elevator is broken on purpose.",
+        themes: "tenement summers, the corner bodega, the boiler that never works, union jobs, block parties, uncles arguing about the old country",
+    },
+    "dario-encinas": {
+        name: "Dario Encinas", genre: "Salsa",
+        sound: "fast Cali-style salsa brava for dancers, bright trumpet-led horns, crisp bongó bell, rapid piano tumbaos, punchy bass, sharp unison breaks and stops for footwork, 200-230 BPM",
+        voice: "bright, nasal male tenor that rides the clave tight and fast, playful on the coro calls",
+        bio: "Writes every song for the dancer who hits the floor first and leaves last.",
+        themes: "Sunday dance contests, a borrowed suit, the bus driver who dances, a rival with faster feet, rent due Monday, the girl's father at the door",
+    },
+    "bashy-coral": {
+        name: "Bashy Coral", genre: "Dancehall",
+        sound: "modern party dancehall, bouncing digital riddim with snappy snare, rubbery synth bass, steelpan and marimba hook stabs, air horns, crowd chants, 95-104 BPM",
+        voice: "confident female deejay with a bright, cutting tone, rapid toasting that breaks into a sing-song hook",
+        bio: "Runs the dance like a landlady collecting rent: everybody pays, nobody argues.",
+        themes: "the Friday street dance, a new hairdo, outdancing a rival crew, men who promise and never call, Saturday market, her own money",
+    },
+    "yard-commodore": {
+        name: "Yard Commodore", genre: "Dancehall",
+        sound: "1990s-style digital ragga, stripped drum-machine riddim, booming sub bass, a sparse keyboard stab, rewind effects and sound-system echo, rough and raw, 88-96 BPM",
+        voice: "deep, gravelly male deejay with a rolling cadence and staccato bursts, sound-clash bravado and comic timing",
+        bio: "Talks to a crowd like a ship's captain who has outlived every storm and most of his rivals.",
+        themes: "sound-clash battles, the selector's dubplates, a car with no reverse gear, a fisherman father, rainy nights on the lawn, old-school respect",
+    },
+    "rowdy-pimento": {
+        name: "Rowdy Pimento", genre: "Dancehall",
+        sound: "afro-dancehall fusion, syncopated log-drum bass and shakers, warm guitar licks, bright synth leads, call-and-response crowd vocals, carnival energy, 104-112 BPM",
+        voice: "raspy, upbeat male deejay who switches between rapid chatting and a cheeky singalong hook",
+        bio: "The only man ever banned from a wedding for making the bride's grandmother dance too hard.",
+        themes: "beach parties, jerk smoke, a cousin's wedding, wining contests, flirting at the bar, getting home before sunrise",
+    },
+    "quarry-saint": {
+        name: "Quarry Saint", genre: "Trap",
+        sound: "dark Southern street trap, haunting choir pad and minor-key bell loop, booming tuned 808s with long slides, rapid triplet hi-hat rolls, hard claps, cinematic tension, 135-145 BPM",
+        voice: "low, raspy male voice with a cold, clipped triplet flow, menacing ad-libs and a half-sung hook",
+        bio: "Prays in the hook and counts money in the verses, and never confuses the two.",
+        themes: "a dead-end county road, a brother doing a bid, trap phones under the floorboard, a mother's church, loyalty tested, sleeping light",
+    },
+    "halo-overdraft": {
+        name: "Halo Overdraft", genre: "Trap",
+        sound: "melodic emo trap, sad clean electric guitar loop, airy pads, sliding 808s, sparse snappy hats, heavy autotune doubles and stacked harmonies, 140-160 BPM",
+        voice: "wounded male tenor in heavy autotune, half-rapped half-sung, cracking on purpose in the hook",
+        bio: "Spent his first advance on a car and his second on the tickets it collected.",
+        themes: "a negative bank balance, a breakup over FaceTime, anxiety in the studio, fake friends at the after-party, late-night drives, missing home",
+    },
+    "mimi-overtime": {
+        name: "Mimi Overtime", genre: "Trap",
+        sound: "bouncy plugg and rage trap, saw-wave synth leads, bubbly bell melodies, distorted punchy 808s, skippy hats, rapid-fire energy, 150-165 BPM",
+        voice: "sharp, playful female rapper with a high, bratty tone, rapid-fire flow and catchy repeated chants",
+        bio: "Clocked out of a warehouse shift for the last time and rapped the exit interview.",
+        themes: "quitting a dead-end job, paying her mother's bills, haters in the comments, shopping sprees, her best friend's car, doubling everything",
+    },
+    "drift-coroner": {
+        name: "Drift Coroner", genre: "Phonk",
+        sound: "drift phonk, melodic distorted cowbell riff, clipped and saturated 808 bass, hard trap hats, pumping sidechain, chopped vocal shouts, built for car edits, 130-160 BPM",
+        voice: "chopped, pitched-down male chants, low and menacing, repeated in short bursts with call-and-response echoes",
+        bio: "Tunes every track to the second a back tyre lets go.",
+        themes: "midnight mountain-pass runs, burnt rubber, tinted windows, empty industrial lots, a rival's tail lights, the cops a mile behind",
+    },
+    "cassette-undertaker": {
+        name: "Cassette Undertaker", genre: "Phonk",
+        sound: "old-school Memphis tape phonk, eerie horror-movie piano and synth loop, rattling cowbell, dusty TR-808 drums, thick tape hiss and warble, slowed vocal samples, 65-75 BPM",
+        voice: "hushed, raspy male whisper-rap with a slow triplet flow, haunting doubled chants behind him",
+        bio: "Records every song onto a bootleg tape and buries the master in his yard.",
+        themes: "riverside motels, funeral homes after dark, fog on the bridge, voices on the police scanner, enemies who disappeared, paranoia",
+    },
+    "brakelight-hex": {
+        name: "Brakelight Hex", genre: "Phonk",
+        sound: "aggressive gym phonk, blown-out distorted bass stabs, fast cowbell melodies, screeching synth leads, pounding kicks, sudden drops, relentless energy, 160-175 BPM",
+        voice: "growling, distorted female chant, pitched low and chopped, cutting shouted hooks",
+        bio: "Turns every brake light in the city red just by driving past.",
+        themes: "the 5 a.m. weight room, revenge on an ex, running red lights, a car that refuses to die, fighting back, no sleep for days",
+    },
+    "pixel-sorbet": {
+        name: "Pixel Sorbet", genre: "Hyperpop",
+        sound: "bubblegum hyperpop, sugary pitched-up synths, bouncy chiptune melodies, glossy supersaws, crunchy 808s, sudden glitch stutters, cartoon sound effects, 150-170 BPM",
+        voice: "chirpy, pitched-up female vocal heavy on autotune, cute and breathless, with sudden screaming harmonies",
+        bio: "Sounds like a candy store run by a heartbroken teenager.",
+        themes: "a crush who leaves her on read, glitter stickers on a laptop, gas station slushies, prom alone, a cat named after a cartoon, crying in a bathroom",
+    },
+    "bitcrush-bridesmaid": {
+        name: "Bitcrush Bridesmaid", genre: "Hyperpop",
+        sound: "digicore hyperpop, rapid tempo switches, glitchy trance synths, bitcrushed drums, distorted guitars in the bridge, abrupt drops into silence, chaotic stereo panning, 140-180 BPM",
+        voice: "emo male tenor with extreme autotune and pitched doubles, raw crying high notes, quick spoken asides",
+        bio: "Wrote his first album in the bridesmaid dress he kept from his sister's wedding and has never explained why.",
+        themes: "a wedding he was not invited to, an ex's new partner, online friends never met in person, three days awake, hair dye gone wrong",
+    },
+    "velcro-angel": {
+        name: "Velcro Angel", genre: "Hyperpop",
+        sound: "dreamy hyperpop ballad, shimmering arpeggiated synths, heavy reverb, a slow-building trance drop, sparse glitchy beats, cascading vocal chops, 120-140 BPM",
+        voice: "airy, wistful androgynous vocal in soft autotune, floating harmonies that splinter into glitchy fragments",
+        bio: "Sounds like a lullaby that got stuck to a broken speaker.",
+        themes: "a childhood bedroom repainted, a parent's old voicemail, a long-distance love in another time zone, a dead phone at a festival, starting over",
+    },
+    "bleached-halo": {
+        name: "Bleached Halo", genre: "Shoegaze",
+        sound: "classic heavy shoegaze: three fuzz guitars through reverse reverb and tremolo bends, droning bass, motorik drums, waves of feedback between choruses, 100-130 BPM",
+        voice: "a hushed boy-girl duet, both voices breathy and half-drowned in guitar",
+        bio: "Four friends who turned the amps up until the room forgot what words were.",
+        themes: "summers ending, chlorine and sunburn, a car stereo left on in the dark, being seventeen and certain of nothing",
+    },
+    "sunken-carousel": {
+        name: "Sunken Carousel", genre: "Shoegaze",
+        sound: "dream-pop shoegaze: chorused clean guitars over pillowy fuzz, Juno pads, a drum machine with soft live toms, glassy chimes, slow sway, 70-95 BPM",
+        voice: "a lone soprano, airy and sighing, stacked in soft harmonies like distant radio",
+        bio: "Songs that sound like a fairground heard from the bottom of a lake.",
+        themes: "seaside towns out of season, a shut-down pier, swimming at night, old photos with the colour bleeding out",
+    },
+    "ivy-tremolo": {
+        name: "Ivy Tremolo", genre: "Shoegaze",
+        sound: "noise-pop shoegaze: buzzsaw guitars, overdriven bass, fast pounding drums, bursts of white-noise feedback, short punchy songs under 3 minutes, 140-170 BPM",
+        voice: "a bright, girlish alto, sweet melody sung flat and cool over the din",
+        bio: "A bedroom songwriter who plays sugar-pop tunes through a jet engine.",
+        themes: "crushes on the night bus, borrowed jumpers, fluorescent supermarkets at midnight, running away for one afternoon",
+    },
+    "smokeglass-arcade": {
+        name: "Smokeglass Arcade", genre: "Trip-Hop",
+        sound: "cinematic trip-hop: slow heavy breakbeats, dub bass, sampled string swells and spy-film harpsichord, scratched vinyl, theremin-like synth, 70-85 BPM",
+        voice: "a smoky female contralto, close and conspiratorial, rising to a cool falsetto",
+        bio: "A duo who score films nobody has shot, one rain-soaked alley at a time.",
+        themes: "night ferries, hotel bars, people running from something unnamed, surveillance, borrowed names, cities after rain",
+    },
+    "marisol-quay": {
+        name: "Marisol Quay", genre: "Trip-Hop",
+        sound: "jazzy downtempo trip-hop: brushed breakbeat loops, upright bass, muted trumpet, warm Rhodes, vinyl hiss, light bossa guitar figures, 80-95 BPM",
+        voice: "a soft, husky mezzo, sung almost spoken, warm and late-night tender",
+        bio: "A harbour-city singer who sounds like the last set in a bar about to close.",
+        themes: "dock lights, cigarette breaks on a fire escape, lovers who keep missing each other, letters in a second language",
+    },
+    "parlour-undertow": {
+        name: "Parlour Undertow", genre: "Trip-Hop",
+        sound: "dark industrial trip-hop: crushed lo-fi drums, distorted sub bass, detuned piano, clanking metal percussion, eerie music-box loops, 65-80 BPM",
+        voice: "a low male baritone, murmured and weary, doubled by a whisper an octave up",
+        bio: "A haunted front room of a band, where the wallpaper is always peeling.",
+        themes: "insomnia, damp flats, a TV left on all night, families not speaking, a seaside town in winter, guilt that will not leave",
+    },
+    "aisling-dunleavy": {
+        name: "Aisling Dunleavy", genre: "Celtic",
+        sound: "slow Celtic ballads: fingerpicked guitar and harp, low whistle, a fiddle answering each line, soft bodhrán on the last verse, 60-90 BPM",
+        voice: "a clear, pure soprano with gentle ornamentation, unhurried and plain",
+        bio: "A singer from a coast road who keeps the sad songs alive by singing them slowly.",
+        themes: "emigrant ships, drowned fishermen, hiring fairs, lovers parted by the sea, a lighthouse keeper's daughter, famine roads",
+    },
+    "kilbrack-ramblers": {
+        name: "The Kilbrack Ramblers", genre: "Celtic",
+        sound: "driving trad band: sets of jigs and reels on fiddle, uilleann pipes, flute, button accordion, bouzouki and bodhrán, long tune sets with only a short sung verse, 110-140 BPM",
+        voice: "mostly tunes; a gruff male lead and group shouts for a verse and chorus between reels",
+        bio: "Five musicians who learned their tunes in a pub back room and never left.",
+        themes: "session nights, crossroads dances, mart days, a hare in the bog field, wedding feasts, the last bus out of the village",
+    },
+    "corran-shay": {
+        name: "Corran Shay", genre: "Celtic",
+        sound: "rowdy Celtic folk-rock: strummed acoustic guitar, banjo, fiddle, tin whistle, upright bass and stomping bodhrán, gang choruses, 120-150 BPM",
+        voice: "a big, raw male tenor, grinning and hoarse, built for singing over a crowded room",
+        bio: "A docker's son who writes drinking songs with a knife hidden in every chorus.",
+        themes: "dock strikes, sea shanties, emigrants in Boston, card games, jailbreaks, landlords, wakes that turn into parties",
+    },
+    "coldframe-assembly": {
+        name: "Coldframe Assembly", genre: "Techno",
+        sound: "hypnotic warehouse dub techno: rumbling kick, dubbed-out chord stabs, long delay tails, metallic percussion, slow filter sweeps over 8-minute arcs, 128-134 BPM",
+        voice: "instrumental: a modular rig and a drum machine in a concrete room",
+        bio: "A producer who builds tracks like clockwork and lets them run until dawn.",
+        themes: "power stations, night shifts, freight yards, concrete stairwells, the hour the club lights come up",
+    },
+    "kiln-operator": {
+        name: "Kiln Operator", genre: "Techno",
+        sound: "industrial hard techno: distorted rolling kick, crushed noise layers, clanging steel samples, relentless 16th hats, harsh acid squelch, 140-150 BPM",
+        voice: "instrumental: overdriven drum machines and furnace-hot synths",
+        bio: "Techno forged at furnace temperature and hammered flat.",
+        themes: "foundries, rail welds, sodium lamps, hydraulic presses, molten metal, the third hour of a warehouse rave",
+    },
+    "substation-nine": {
+        name: "Substation Nine", genre: "Techno",
+        sound: "melodic futurist techno: crisp 909 groove, warm analog pads, arpeggiated synth melodies, string-machine chords, soulful and bright, 122-128 BPM",
+        voice: "instrumental: analog synthesizers and a 909 under city lights",
+        bio: "A transmitter on the edge of town broadcasting hope to the night buses.",
+        themes: "elevated trains, satellite dishes, sunrise over car plants, signals from orbit, empty highways at 5am",
+    },
+    "glacier-census": {
+        name: "Glacier Census", genre: "Post-Rock",
+        sound: "crescendo post-rock: chiming tremolo-picked guitars, swelling bass, drums from brushes to pounding toms, glockenspiel, explosive distorted climaxes, 70-120 BPM",
+        voice: "instrumental: three guitars, bass and drums in a big wooden hall",
+        bio: "Four musicians who measure a song in how long it takes the ice to break.",
+        themes: "melting glaciers, research stations, radio static at the pole, slow catastrophes, the last expedition home",
+    },
+    "atlas-of-small-weather": {
+        name: "Atlas of Small Weather", genre: "Post-Rock",
+        sound: "chamber post-rock: piano, cello, violin, clean reverb guitar, trumpet, soft programmed beats and field recordings, delicate builds to warm swells, 60-100 BPM",
+        voice: "instrumental: piano, strings and guitar recorded in a church",
+        bio: "A small orchestra that writes symphonies about puddles and kitchen windows.",
+        themes: "fog on allotments, a kettle at dawn, snow on a bus shelter, frost patterns, a child's weather diary",
+    },
+    "orrery-fields": {
+        name: "Orrery Fields", genre: "Post-Rock",
+        sound: "heavy math-tinged post-rock: interlocking tapped guitars, odd-time grooves in 7/8 and 5/4, synth drones, bowed guitar, crushing doom-like finales, 90-150 BPM",
+        voice: "instrumental: a guitar army with synths and a thunderous drummer",
+        bio: "A band that plays like planets colliding in slow motion.",
+        themes: "orbits, eclipses, observatories, abandoned space programs, deep time, the moment before impact",
+    },
 };
 const RAP_FORM = [
     "Rap structure: [Intro] of 1-2 ad-lib lines, [Verse 1] of 12-16 bars (one bar per line), [Hook] of 4 lines, [Verse 2] of 12-16 bars, [Hook] again, optional [Verse 3] or [Outro].",
@@ -896,6 +1211,96 @@ const CRAFT = {
         production: "Large scoring-stage sound, real orchestral sections with clear depth, deep low brass and percussion, modern hybrid sound design only where the artist calls for it.",
         avoid: "vocals, singing, lyrics, choir words, pop song structure, drum kit backbeats, rap, autotune",
     },
+    "ska": {
+        delivery: "sung",
+        lyrics: "Ska: verse, chorus, verse, chorus, a horn-solo break, last chorus doubled, with short punchy lines that sit on the offbeat and a chorus built on one repeated phrase the crowd can shout back. Write in first person or as a street-corner narrator reporting on the neighbourhood: a dance hall, a bus depot, a shop steward, a rent man, a Saturday night that went sideways. Keep it danceable and wry even when the subject is unemployment or a fight; the joke and the grievance live in the same line, and call-and-response between lead and backing vocals is expected.",
+        production: "Choppy offbeat guitar skank and organ bubble over a walking bass, crisp snare on the backbeat, a tight trumpet-trombone-sax horn section punching the hooks, live-room energy.",
+        avoid: "rapping, autotune, trap hi-hats, EDM drops, synth pads, slow ballad tempos, metal growls, acoustic folk strumming",
+    },
+    "surf-rock": {
+        delivery: "instrumental",
+        lyrics: "Surf rock instrumentals, no words: each track is a 2-3 minute piece with a drum or bass pickup, a 12- or 16-bar lead melody played twice on reverb-drenched guitar, a contrasting middle section (a key change, a tremolo-picked run, or a drum break), then the theme again and a sharp ending or a fading glissando. The melody must be hummable and the energy should feel like motion: a wave, a car, a chase. Titles are terse and physical, naming a break, a stretch of coast, a board move, a car or a weather event, e.g. 'Riptide at Pier Nine', 'Offshore Wind', 'Black Flag Morning', never 'Surf Vibes' or 'Summer Fun'.",
+        production: "Single-coil electric guitar through a spring reverb tank with wet drip, heavy tremolo-arm bends, driving tom-heavy drums, round picked bass, occasional organ or baritone sax, recorded live and a little hot.",
+        avoid: "vocals, singing, humming, spoken word, rapping, synths, distorted metal guitars, trap drums, EDM drops, acoustic ballads",
+    },
+    "rockabilly": {
+        delivery: "sung",
+        lyrics: "Rockabilly: 12-bar or 16-bar verse-chorus songs about 2-3 minutes long, verse, chorus, verse, guitar break, chorus, with short rhyming couplets and a title phrase that repeats at the end of every chorus. First person, cocky or lovesick, full of concrete late-1950s small-town detail: a two-tone Ford, a jukebox nickel, a county fair, a sheriff, a factory shift, a girl or boy across the tracks. Use hiccups, stutters and yelps as rhythm, keep the slang playful, and land a punchline or a sly double meaning in each verse.",
+        production: "Slapback echo on the vocal, slapped upright bass clicking on every beat, twangy hollow-body electric guitar with fast hybrid-picked licks, brushed or snare-heavy minimal drums, recorded mono-ish and live.",
+        avoid: "synths, autotune, rapping, modern pop drums, heavy distortion, orchestral strings, ballad tempos throughout, EDM drops",
+    },
+    "swing": {
+        delivery: "sung",
+        lyrics: "Swing: classic 32-bar AABA songs, a band intro, the vocal chorus, an instrumental chorus with horn solos and a shout chorus, then the vocal back for the last eight bars and a big ending. Lines are conversational and witty with neat internal rhymes, written to a specific 'you' or about a night on the town: a ballroom, a streetcar, a borrowed tuxedo, a payday, a last dance, a phone that will not ring. Charm over confession; clever wordplay, a small twist in the bridge, and a tag line the band can punch.",
+        production: "Full big band with saxophone, trumpet and trombone sections trading riffs, walking upright bass, four-to-the-bar rhythm guitar, swinging ride cymbal and hi-hat, warm room reverb, the singer up front.",
+        avoid: "rapping, autotune, rock guitar distortion, synths, drum machines, EDM drops, trap hi-hats, screamed vocals, modern pop production",
+    },
+    "bossa-nova": {
+        delivery: "sung",
+        lyrics: "Bossa nova sung in English: through-composed or AABA songs, unhurried, with short lines that leave space between phrases and soft internal rhymes rather than hard end-rhymes. First person, intimate and understated, as if confiding: a balcony at dusk, an afternoon rain, a tram ride, a lover who left by the morning ferry, the smell of coffee, the colour of a dress. Saudade without melodrama; one precise image per line, a gentle wordless 'da-da-da' passage is fine, and the ending trails off rather than resolving.",
+        production: "Nylon-string guitar with a syncopated bossa thumb-and-finger pattern, brushed snare and rim clicks, soft upright bass, light piano or flute, a close hushed vocal with little vibrato in a warm, dry room.",
+        avoid: "belting, vocal runs, rapping, autotune, distorted guitars, loud drums, EDM drops, trap hi-hats, big pop choruses",
+    },
+    "salsa": {
+        delivery: "sung",
+        lyrics: "Salsa: sung mostly in English with short Spanish phrases only where they snap (a coro tag, a pregón call-out, a pet name), never a whole translated verse. Form is a short horn intro, two verses of 4-6 lines (8-11 syllables, a story told in first person), a [Coro] of one repeatable line the band answers, then a [Montuno] where the lead improvises short pregones between repeats of the coro, a [Mambo] horn break and a final coro. Ground it in a real night (the bus to the club on Friday, the cousin's quinceañera, the landlord at the door, the partner who leads too hard) and let the coro carry the title; never stack fuego, corazón and bailar clichés.",
+        production: "Live big-band salsa sound: clave-locked piano montuno, tumbao bass, congas, timbales with cáscara and bell, bongó bell on the montuno, a full horn section of trumpets and trombones punching mambo lines, coro vocals answering the lead.",
+        avoid: "reggaeton dembow beat, trap hi-hats, EDM drops, rock drum kit, distorted guitars, autotune, rapping, mariachi violins, Spanish-only lyrics, slow ballad tempo",
+    },
+    "dancehall": {
+        delivery: "sung",
+        lyrics: "Dancehall: a deejay toasting over the riddim in English with light patois flavour (yuh, mi, bredda, wah gwan) that never blocks understanding. Form is an [Intro] of shouted hype lines, a [Chorus] of 4 short chantable lines with the title, [Verse 1] of 8-12 rhythmic lines of 7-11 syllables riding the riddim with tight end and internal rhymes, chorus, [Verse 2], chorus, and an outro of call-outs to the crowd. Write first person, boastful, funny and physical (the sound system at the street dance, the fresh trim, the taxi fare, the rival selector, the mother calling at 4 a.m.) with wordplay and a punchline every 4 lines; no slurs, no gun glorification.",
+        production: "Digital riddim with hard kick and rimshot snare, deep sub bass, sparse synth stabs, air-horn and rewind sound-system effects, the deejay vocal loud, dry and upfront with echo throws on line ends.",
+        avoid: "roots reggae one-drop ballad feel, rock guitars, four-on-the-floor house kick, orchestral strings, operatic vocals, country twang, slow acoustic arrangement, unintelligible patois",
+    },
+    "trap": {
+        delivery: "rapped",
+        lyrics: "Trap: [Intro] of producer tag and ad-libs, a [Hook] of 4-8 lines up front (melodic autotuned hooks welcome, repetition is the point), [Verse 1] of 16 bars, hook, [Verse 2] of 12-16 bars, hook. Verses switch between triplet flows and half-time pockets, every line a full bar of 8-14 syllables with multisyllabic and internal rhymes chained across bars, ad-libs at line ends. First person, present tense, specific and visual (the count machine, the plug's area code, a jeweller's backroom, the rental with paper tags, the group chat at 3 a.m.): flex earned by detail, paranoia under the shine, dark humour; mild profanity fine, no slurs, no real names.",
+        production: "Booming tuned 808 bass with slides, rapid hi-hat rolls in triplets and 32nds, hard snares and claps on the 3, a dark minimal loop of bells, plucks or choir pad, the vocal dry and loud with stacked ad-libs.",
+        avoid: "boom-bap swing drums, live band, acoustic guitar, four-on-the-floor kick, EDM drops, uplifting choirs, cheerful major-key pop, sung verses",
+    },
+    "phonk": {
+        delivery: "rapped",
+        lyrics: "Phonk: Memphis-style chopped, chanted vocals: short punchy lines of 4-8 syllables repeated two or four times like a chant, triplet flow, call-and-response between the lead and a pitched-down echo. Form is a hook chant of 2-4 lines that opens the track, short verses of 8 bars, the hook again, then a long cowbell section where only one phrase repeats. Dark, nocturnal and concrete (the parking lot at 2 a.m., the handbrake turn, tail lights in the fog, tinted windows, a rival on the overpass): menace through mood rather than gore, no slurs, and fewer words is better so the cowbell melody can breathe.",
+        production: "Distorted, clipped 808 bass, a melodic cowbell riff carrying the tune, lo-fi Memphis tape hiss and vinyl crackle on chopped and pitched-down vocal samples, hard trap hats, heavy saturation.",
+        avoid: "clean pop vocals, singing, acoustic guitar, live drum kit, orchestral strings, uplifting choirs, reggaeton beat, bright major-key synths, long verses",
+    },
+    "hyperpop": {
+        delivery: "sung",
+        lyrics: "Hyperpop: verse-chorus pop form pushed to extremes: a 4-line verse, a pre-chorus that pitches up, a chorus of one hooky line repeated with variations, a bridge that collapses into a glitch breakdown, and a final chorus faster or an octave up. Lines are short (4-8 syllables), diary-blunt and internet-specific (a read receipt, a cracked phone screen, a bedroom ring light, a gas station slushie, a deleted account), sincere heartbreak hidden inside sugar-rush fun, cute and devastating in the same couplet. No generic 'feel alive tonight' lines.",
+        production: "Maximal glossy chaos: pitched-up autotuned vocals, bitcrushed and distorted 808s, trance supersaw leads, glitchy stutter edits, sudden tempo or genre switches, pristine highs over a clipping low end.",
+        avoid: "acoustic folk arrangement, live jazz band, country twang, slow blues, orchestral classical, gritty rock guitars as the main element, rapped verses, muddy lo-fi mixing",
+    },
+    "shoegaze": {
+        delivery: "sung",
+        lyrics: "Shoegaze: verse, chorus, verse, chorus, then a long instrumental wash where the vocal returns as one wordless line; keep each section to 4 short lines with lots of open vowels (oh, away, slow, light) that can melt into the guitars. Write half-remembered images rather than stories: a sunburnt car seat, a swimming pool after closing, hair drying on a radiator, the hum of a fridge at 4am. The chorus is a single phrase of 3-6 words repeated like a breath, and meaning should be felt, never explained.",
+        production: "Walls of layered fuzz and reverse-reverb guitars with heavy tremolo-arm bends, a steady driving kit low in the mix, and soft breathy vocals buried inside the guitars rather than on top.",
+        avoid: "crisp up-front vocals, autotune, rap verses, EDM drops, clean pop polish, shredding guitar solos, trap hi-hats, brass sections",
+    },
+    "trip-hop": {
+        delivery: "sung",
+        lyrics: "Trip-hop: slow verse-chorus songs with long gaps between lines so the beat breathes, verses of 4 lines spoken-sung low and close, a chorus that rises only slightly and repeats one bruised phrase. Write first person, night-time and interior: a hotel corridor carpet, the last train's empty carriage, rain on a taxi window, a phone that keeps lighting up face down. Seductive and guarded at once; leave something unsaid in every verse and end on an image, not a resolution.",
+        production: "Slow dusty breakbeats at 70-95 BPM, deep dub bass, vinyl crackle, scratched string and horn samples, smoky Rhodes and a close, intimate vocal with tape delay throws.",
+        avoid: "fast tempos, four-on-the-floor kicks, EDM drops, autotune, bright pop choruses, rock guitar solos, trap hi-hat rolls, rapping",
+    },
+    "celtic": {
+        delivery: "sung",
+        lyrics: "Celtic: ballads in plain ABAB quatrains with a refrain line that returns at the end of each verse, or rowdy reel songs where every verse ends in a shout-along chorus and the band takes a full instrumental tune between verses. Tell a story with names and places: a herring boat, a hiring fair, a priest's housekeeper, a lad gone to the Boston docks, a wake that turns into a dance. Use old-fashioned but clear English (bonny, aye, the morning dew) sparingly and never as a stage accent; the last verse should turn the story with one hard fact.",
+        production: "Acoustic and live in a wooden room: fiddle, uilleann pipes, tin whistle, bodhrán, bouzouki and guitar, the singer dry and natural, tunes switching from jig to reel with a lift in tempo.",
+        avoid: "synthesizers, EDM drops, trap beats, autotune, electric guitar distortion, drum machines, pop production gloss, fake stage-Irish accent",
+    },
+    "techno": {
+        delivery: "instrumental",
+        lyrics: "Techno, no words: each track is a 6-9 minute DJ-ready piece built on one kick pattern and one core motif, with a 32-bar beat-only intro, elements added every 16 or 32 bars, a breakdown where the kick drops and a filtered pad or acid line rises, then a long peak section and a 32-bar mix-out. Tension comes from filter movement, hi-hat density and small motif mutations, not new chords. Titles are terse and physical, like a machine part, a shift or a location, e.g. 'Compressor Hall B', 'Night Shift Torque', 'Platform 0 Sodium', never 'Techno Banger' or 'Rave Anthem'.",
+        production: "Heavy punchy kick with rumbling sub, crisp 909-style hats and claps, hypnotic analog synth loops, dub chord stabs drenched in delay, mono low end and a club-loud master.",
+        avoid: "vocals, singing, rapping, spoken word, vocal chops with words, pop chord progressions, guitars, acoustic instruments, trap beats, big EDM festival drops",
+    },
+    "post-rock": {
+        delivery: "instrumental",
+        lyrics: "Post-rock, no words: each track is a 6-12 minute crescendo piece that opens with a single clean guitar or piano figure, adds bass and brushed drums, layers tremolo-picked guitars and strings, then breaks into a huge distorted climax before collapsing into a quiet coda of the opening figure. Movement comes from dynamics and repetition, not verse and chorus. Titles are long, specific and a little uncanny, e.g. 'The Ferry Ran One Last Time With No One On It', 'Snow Falling on the Radar Station', never 'Epic Journey' or 'Crescendo'.",
+        production: "Wide live-room band recording with chiming reverb-soaked guitars, glockenspiel and strings, drums that start soft and end thunderous, and a dynamic range from near silence to a wall of sound.",
+        avoid: "vocals, singing, spoken word, choir words, pop song structure, EDM drops, trap beats, autotune, short radio-length edits",
+    },
     "yacht-rock": {
         delivery: "sung",
         lyrics: "Yacht rock: smooth, wry adult romance, marinas and late lunches, sophisticated chords mean sophisticated words, a falsetto-ready chorus.",

package/package.json

@@ -1,6 +1,6 @@
 {
   "name": "nixamp",
-  "version": "0.76.0",
+  "version": "0.77.0",
   "description": "It really whips the terminal's ass. A Winamp-shaped audio player for your terminal.",
   "license": "MIT",
   "type": "module",