This track landed in my inbox this week and it was a refreshing change to listen to some music which comes from a completely different direction to what I would normally seek out.

The vocal production is second to none and this being the main focus of the track, the intensity and passion of the Violeta’s vocals are more than mesmerising, pulling the listener in.

The instrumental behind the vocals is smooth and precise with a nod to an 80’s sounding set of instruments, accenting the rises and scoops in the vocal delivery with a level of professionalism and musical certainty.

The drums push the track forward with an amazing sounding kick drum and, in style with the rest of the track, lovely reverb on the snare. The arp synth is rounded and sweeping, sinking away in to the background just as the listener wants more. This is a really great track all round and I encourage you to take a listen to some of Violeta Skya’s other tracks. You can follow her on Facebook and Youtube.
This track, Let it Burn, has a fresh and organic feel throughout which is perfect for the soulful vocals that Kole weaves over the track. The production on the vocals themselves is really nice to listen to, such a smooth flow exaggerated by subtle reverbs carrying the vocal off in to the background. The backing vocals give a warm and wide feel to the vocal parts which is really nice to listen to.

The instrumental track progresses in just the right areas adding emphasis and focus for the track as it grows around the vocal. The drums are well produced and give the track a more modern twist which allows it to drop in to more popular electronic pop music style which would fit perfectly at home in front of summer festival crowds.

I love organic sounds and music that is made using ethereal elements. Combined with a vocal that has power, soul and emotion – its a brilliant combination that I can listen to over and over.

The track is produced by Miami Horror, who can be found along with Kole on Facebook and Spotify.
I’ve listened to this track a couple of times now, it has an inviting pad and vocal that draw in the listener and caresses the ears before the bass lands and shudders the complexion of your thought process. The track feels raw and truthful to the artists involved, blending together the different styles and influences that clearly come from hip hop, trap and ambient electronica. Musa is an artist to watch out for!

I like to listen to as many different styles as possible and I really enjoy music that blends ideas and concepts together. It makes music more enjoyable for everyone involved. I really believe that the artists in this track have started a musical journey for themselves that will produce some amazing music and I can’t wait to listen to more!
The End Of The World And To The Left EP is a 6 track collection of tracks from hip hop artist Burnin Giraph. It is a really cool and diverse set of tracks that is quite special to listen to. In terms of being surprised, the track Cheers feat. Loe really takes you to another place within the EP. The whole musical journey from Burnin Giraph is interesting and encapsulating from start to finish and I know that I will be listening to this again.

The vocals and smooth pads in Cheers are really well crafted and sit with just enough of a cushion between the drums and bass ticking over underneath. The production is really good and the mixes are well balanced and inspiring to listen to.

Ben has recently put the cause 2 create studio through its paces with his alternative metal solo project titled – Jacob Messianic.

Ben has been producing a seven track ep called “The World to Come”. Original material written in the studio had stemmed from years of musical appreciation of all types of music from metal bands like Pantera, God Forbid, Meshuggah and Machine Head to name but a few, through contemporary composers like Ludovico Einaudi and electronic producers such as Bonobo. These form the loose guidelines for inspiration with all genres, bands and artists in between having an impact on the music that has been born.

The guitars were mostly recorded through a Marshall AVT special edition head running directly through the outboard of the studio, including the Bellari RP583. As the bass, but using the ever solid Trace Eliot head unit, specifically running through the tlaudio Fatman. The guitars used were 90% Jackson with a dash of Epiphone Les Paul, and even a little Fender Strat found its way in to the mix. The bass was a mixture of again mostly Jackson with appearances from an Ernie Ball Music Man and a Westone through neck, beautiful to play.

Andrew Hunter made a couple of guest appearances on guitar, playing extra rhythm, dualed patterns and generally having a great input. After years of playing guitar together in bands, nobody else could step in to an already fast paced project and be able to deliver the complimentary guitar needed.

Drums were a mixtures if triggered and sampled drums in this ever moving age of drum production. Through a mixture of several acoustic kits, miced and triggered, and an electronic drum kit kindly lent by building resident, producer Tom from 2 Billion Beats, the drum patterns were sculpted and rewritten multiple times, good job I like editing drums 🙂 Again Hunter made an appearance on several tracks laying down drum parts that gave a solid back bone to the growing ideas when things got a bit too hectic all coming from one mind.

Vocals were captured simply with an Akg C2000b condenser microphone, with assistance from studio partner Alasdair Taylor at the desk. Every line double tracked, an hour a day for five days was all the time we had so we just had to nail it first time.

A little orchestration was dotted around afterwards for dramatic effect and then it was down to the mix.

At this point it is important to note that an early blog post indicated that there could be more of a collaborative project on the cards but due to time commitments the project grew quicker than all originally interested members could get to the studio, all because of the vision of original project starter, Ben, and his desire to continually work on the tracks in all available spare time in order to be able to move on with his favourite part of the music technology works – mixing, and onwards to complete the project.

Ben, again with limited time, has spent several sessions tidying up and arranging and mixing the tracks to a degree where 7 were selected from a collection of tracks at various stages. Those seven became the basis for the ep now named ‘The World to Come’. Using his favoured elements of the studio outboard he finally reached a mix if the tracks he was happy with to say, time for mastering.

Next up was Christophe Bride and Oxygene Studios for mastering. As always, still wondering if the mix was right, we sat while Chris worked his magic and produced the finished product.

At present the finished tracks are being prepared for release so keep your eyes on the Jacob Messianic website