Soothing calm vocals within a minor key wrapped in an energetic 124BPM arrangement. Carry On is both uplifting and sad. This song brings it both ways. All the sad feelings vocalist Ella portrays, it's balanced out by male vocals who believes that her feelings could easily disappear. 

The bass line has an uplifting feel, while the synth frequencies are midrange-biased to create an atmospheric canvas for the other sounds. The off-beat synth/bass in the middle of the track was made using a single long note that was volume-ducked with the kick to make it sound like individual notes.

Carry On

Soaring was untitled when it was produced in November/December 2024. It turned out to be a 100+ hour monster to produce with many details simply not working. Eventually, the right sound was found to fit right into the track. Consisting of 68 tracks, the tune inspires a feel-good attitude towards life. 

The title Soaring was only chosen whilst on a family trip to Dubai in December 2024 where all footage for the video was also shot. The combination of the many soaring tall modern buildings and the music is well balanced and became the idea behind the title. It's almost like a promotional video for Dubai but the city is not highlighted intentionally. The architecture is though. This city should be on the top of the list for many. It's great!

The music video is found here:
https://www.youtube.com/watch?v=mtjGxUe6qHI

Soaring

Jan25, as it was called during production, had its inspiration from the featured vocals as sung by Elianne. Sounding a bit like Ellie Goulding, the vocals caught Undertone's attention. He went along with them, finding shape and form in the Benoni studio over four weeks.
In time a 122BPM House/Pop track was created that could also work well on mainstream radio once a shorter radio edit was made.

The piano bridge was created by swinging away on an Akai MPK MIDI controller that is also featured in the music video. The song was made in Dmin, giving it an emotional feel. As usual, mastering was done by engineer Ross Finck.

The music video for the track features Undertone's son Sven, and was shot at Fort Klapperkop in Pretoria.

A day before the video shooting, the track also got its title: Kind Of Love.

Kind of Love

Falling was created around Evan's vocals during February 2025. The Uplifting beat counters the sorrow-filled lyrics. 128BPM shoots up to 150BMP in the closing part of the track where the act of falling is emphasised by slowing it right back again to around 80BPM.

The use of arpeggiators with reverbed synths in the middle of the song just before the bridge give the impression of confusion in line with the lyrics.

The regretful lyrics need to be countered by the beat and synths, and the music always wins.

This track follows up from the previous release, Kind of Love with a similar house/Pop track that could appeeal to a wider audience, deviating from previously released Progressive House tracks.

Be that as it may, Undertone will be back with Trance/Progressive House tracks in the very near future.

Falling

The inspiration to produce this track came from the old-school doo-wop/Motown-styled vocal, which invokes real emotion. 

Nothing about this track's progression is straightforward, hence the chosen title.

Non-Type Certified is a unique track that changes its time signature from 4/4 to a waltz-type 3/4, then back to 4/4, and finally back to 3/4. 
Not only the time signature, but also the bass riff changes four times.
The first verse's vocals were sped up, with the last one stretched out, and were set in different time signatures. The 123BPM remains constant throughout the track. 

An arpeggiator was used for the main synth melody, which has a subtle second synth to accentuate the attack parts of the notes.

The percussion, including the closed hat, was produced to sound as analog as possible due to the old-style vocal and Motown trumpet accents. The open hat is opposing the closed hat by being crisper and sharper. Unusual, but it works here.

Non-Type Certified

Don't Ask was produced during April/May 2025 and was originally intended to be a techno track with a faster bassline.

However, it was decided that the vocals would not fit into a livelier finished product.
The bassline was toned down and a deeper mood was created, which fitted the vocals and the track much better.

The title was shortened from Don't Ask Me To Stay to just Don't Ask since Sean's lyrics do not align with his true intentions or feelings. They actually highlight the difference between what is expressed and what is meant. The female lyric “don't drive away alone” was added as an acknowledgement that their relationship can work.

The main synth was designed using the Serum digital synthesizer. Using Automation with the attack, decay, and release times, the stutter effect could be created, as well as longer notes accentuated.

Don't Ask

Last year, Old-School Electric track was released using the same vocals. This year, it was re-imagined and redone.

Vocalist Belle's unique lyric “We're so electric, need a paramedic” deserved another chance.

Trying to retain a bit of the old-school feel of the original in an energetic 128BPM track, some vintage synth styles and sounds were incorporated. Other than that, it should hold its own on any modern dancefloor.

As with most previously released tracks, new techniques were used in the production. Partly through experience and partly through excellent YouTube experts like Will Darling from EDM Tips. One stab synth uses the hold automation to bring a delay into the sound curve at just the right timing, similar to a slow attack.

Subtle electrical audio clips were placed throughout the track. Some are hidden in subtle stabs for a soft effect.

Undertone is a South African-based EDM producer. Blending a business career with EDM production in such a way that both can thrive.

Electric

What do you get when Amapiano, EDM and House meet in a South African studio? 

You have a date. Ngiyajola!

Crafting a happy Zulu lyric into a vibrant EDM track with an accompanying piano melody, this track is sure to catch the ear. Stabby synths try to take a back seat, but still succeed in piercing through the track's progression. Purposely so. 

Percussion focussed, the track drives the listener for just over 3 minutes into an uncertain world, yet at home in several dance genres.