Only a few releases in, this latest release by Netherlands metal band, Quilla Karma is fantastic! Listen to it below (You can open the YouTube video right here in the community). The singer, Sunil, has been a student of my courses for years. I'm proud of him, and honored to have him attribute much of his singing journey to my methods. So cool. Enjoy! Website: Quilla Karma YouTube: Discordant Heaven, by Quilla Karma SoundCloud: Discordant Heaven, by Quilla Karma

I want to remind everyone that Music Mondays is a great time to share your own stuff or stuff you find really cool. Just sharing and entertainment without having to share lessons learned, analysis, or the like. ***𝗙𝗲𝗲𝗹 𝗳𝗿𝗲𝗲 𝘁𝗼 𝗽𝗼𝘀𝘁 𝘆𝗼𝘂𝗿 𝗼𝘄𝗻 𝗺𝘂𝘀𝗶𝗰, 𝗼𝗿 𝘀𝗼𝗺𝗲𝘁𝗵𝗶𝗻𝗴 𝘆𝗼𝘂 𝗷𝘂𝘀𝘁 𝗿𝗲𝗮𝗹𝗹𝘆 𝗹𝗶𝗸𝗲 𝗮𝗻𝗱 𝘄𝗮𝗻𝘁 𝘁𝗼 𝘀𝗵𝗮𝗿𝗲*** I'm not one to share music just for the sake of filling up Music Mondays, so I haven't posted a lot on Music Monday for a while. This is mostly because what I'm personally working on is still in production—from my own music, to a new big project that's still forming, and a few people that I'm either producing or writing with. To be honest, I'm in the middle of an unexpected divorce that took over my time for while, so I haven't posted nearly as much as I've wanted to in general. While I'll still be busy for a couple of months, I'm finally able to start planning more time creating and being more active here.

I tried what you had mentioned before, @Draven Grey, in just recording every other line during a vocal take. The difference is night and day. It's so much easier to get good takes! Thanks for the tip.

I've learned a lot here about the three main ingredients of grit: Compression Constriction and Acoustics. I just want to make sure that I'm not mistaking exactly what a hyoid pull is. I've seen you describe it as being like a gain knob on an amp or distortion dedal for a guitar. The idea of a gain know being that as you turn it up, you get more distortion. So many vocal coaches using different terminology has probably been the biggest soure of confusion I've had over various singing-related concepts and I think that holds true for the hyoid pull as well. I just want to be certian that a hyoid pull is what I think it is. For instance, some coaches describe how to create grit as singing while holding back air at the same time. The idea of holding air back while you sing is what I was taught compression is. The reason for my uncertianty about if I really understand what a hyoid pull is, is that the more air I hold back the more the amount of grit increases - like a gain knob. In essence, before becoming acquainted with your terminiology, i pretty much thought of my gain knob for singing with grit being how much air I hold back. The word I was taught for how much air I hold back is "compression." I think in Estill, I think the term they use for that is "restriction." The more I restrict my air, the distortion I get. So it really is like a gain knob to me. If I want more disotortion, I hold back more air or "restrict" more air the more gain or distortion I get. This makes me wonder if maybe this is the hyoid pull! Before arriving at the conclusion that maybe a hyoid pull is the same as air restriction, I thougt a hyoid pull was literally pulling some part of my anatomy around the base of my throat. The problem I had with that is that when I did it, it created sort of a choking feeling and it sounded kind of like I was slightly choking. My singing felt considerablty less "free" when I did this than when I sang clean. So, is a hyoid pull simply a way of describing holding back air while you sing or "restriction" of air?

It seems to me that it would be helpful everyone in this community to learn to distinguish between compressed and. decompressed grit and how different acoustic placements sound when different singers use them. Lots of people do fry screams, but many of them end up sounding very different. A singer that has recently gained quite a lot of attention among the "first time reactors" is an artist named MAPHRA singing a cover of a song by BTH titled "Doomed.": Between 1:11 and 1:32 into this video of MAPHRA gets a unique sounding grit. I've seen various vocal coaches claim they were giing to analyze her technique. Some came up with things that sounded somewhat close but didn't really sound right. Others, even one coach who claims to specialize in distortion attempted no analysis of her grit technique. I would guess that MAPHRA is using fry scream for her unique type of grit but I would love to know. Where does her technique for grit fall on the compressed to decompressed spectrum? Is there a lot of constriction (hard hypid pull) or only a ight amount of constriction (light hyoid pull)? Where is her acoustic placement? I think the better we get at being able to identify what techniques singers are using and how those techniques vary in sound. depending on which vocalists are using them, the better we'll get at deciding how to create the sound that we're going for. https://www.youtube.com/watch?v=r6L-GUOAhGo