This is a track that was originally recorded for a charity album that was to feature the work of different electronic music producers. While the album never eventuated, it was later 'discovered' online and then signed to boutique dance label, Odessa Mama.

From here it was licensed for use in a European fashion series called, 'The Stylist', that has been broadcast around the world.

As a recording, it was a huge piece that took nearly 90 hours to put together. While there are drum loops and sound effects a-plenty - nearly all of the melodic instrumental elements were performed by me, along with the composition of the main theme (which could equally be played quite successfully by a small jazz trio).

The vocal samples came from an old vinyl record that my grandfather had  (he was a doctor) that was called, "How To Live With Yourself... Or... What To Do Until The Psychiatrist Comes" by Dr. Murray Banks.

We tried to track the label down for clearances for these samples but the label and release were from the 1950s and had ceased to exist a long, long time ago :P

10000 Women

This original piece of music was composed and recorded in response to the prompt for August (2025) for the little song club I'm part of with some audio heavy hitters in the US.

The prompt was to create a song that was for a made-up, non-existent culture. We also had to include a home made instrument too.

This was no doubt the most challenging brief yet - and I found the only way to tackle it was to go into audio production composer mode, imagining it to be for a sequence in a film, rather than a song in any traditional sense.

The words are completely made up and it really was like the process of chipping away at a block of marble to reveal the sculpture within. I had no idea what sounds would tumble out of my mouth next. All I knew was that the various lines needed to sonically land in a way that sounded resolved, and that the melodies of those various lines should also be harmonically cohesive so they could be stacked on top of each other.

The vocals that I recorded were pretty much single take positionals, captured only to get the idea down. But as the month busily rolled on, it became clear that I wouldn't have time to do proper takes, so it was a case of making the most of what I had. Of course, as a tribe would be made up of many people with varying abilities to sing in tune, the roughness probably helps to emulate that reality better than had I recorded it in any other way.

While I am very much an advocate of writing tracks that are fundamentally resolved before recording begins, in this case the track drew into focus through the recording process. With each listen through it became clearer what was needed and where.

It was only after I had begun that I got the sense that this might be a tribal chant sung to accompany a rain dance. From there came the idea of the vocals reaching a crescendo as the lightning strikes and the thunder rolls and the deluge begins. It was also complete coincidence that I later reflected on the fact that the Hebrew word for rain is 'geshem'.


The hand-made instrument was the undulating metallic hit after the thunder and lightning. This was a metal mixing bowl that I filled with water and hit with a big metal spoon. I had my laptop setup on the kitchen bench and recorded it with my Shure SM7B via my Universal Audio Volt 2/76.

The other acoustic instruments were the African thumb piano which plucked the opening sequence of three notes, and the Ocarina which I blew in for the strange echoey whistle.

My song-club buddies determined that my track had addressed the challenges of the brief most  faithfully which was a major compliment.

We even determined that our farewell salutation shall now be, 'Ki Go Goshem' :D 





Ki Go Goshem

JingleHell is a Melbourne based audio production group that offers snappy sonic solutions for advertising, digital, film and TV.

Indeed, if you need more than just effervescent sonic wallpaper, then you'll love JingleHell as we're all about producing music with super catchy hooks, fine-tuned to connect with your audience. 

Recent projects have included the production of a video and radio ad soundtrack for the virally acclaimed "Pubidome" campaign, as well as a video soundtrack for an online promotional video for the super innovative and award winning, “MakeDo” environmentally friendly toy product.

Jingle Hell have also produced everything from music for a Spanish computer games developer to an electro dance track that featured in a European fashion series called, "The Stylist".

As a companion business to Adrian Elton Creative* - our clients have the reassurance of working with a small group who completely understand the business and creative prerogatives associated with getting things done in the advertising and film industries.

And because we love things to sound as good as they possibly can, we have classic mics like the Neumann U87 paired with a Neve 1073 preamp, which is the self same, iconic combination that has consistently been the weapon of choice for artists like Stevie Wonder, Nirvana and more recently, Lily Allen. We also have vintage instruments like an original 1964 Hofner violin bass (which is the same model bass Paul McCartney played in the Beatles) and a Fender Rhodes 73 Mark I electric piano (which is the same model Ray Charles plays in the Blues Brothers). These vintage instruments sit alongside the absolute best of contemporary digital audio production tools and toys, so whether you project needs to sound like tomorrow, or Yesterday - we can confidently nail it. 

Sounds good huh? 

To talk about your next project, email Adrian Elton at >> adrian@jinglehell.com

10000 Women

JingleHell

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