This track is so sick. Super unique. Whenever I use LFO’s, especially on vocals, keep 2 things in mind. 1) a new listener needs to be able to be able to tell what is going on. For me specifically, the lfo in the beginning where she is singing “Kingston” is super cool but it took me a little bit to understand what she way saying. Not saying change it I’m just giving you an example of what I mean when I say “make sure the listener can track what’s going on” Keep in mind it is your track so you will be extremely biased on that front. 2) While LFO’s are super sick, imo they tend to leave sounds sounding very dry. Part of that is the people use them. The rapid contrast in volume has a sick effect, but the intro in your (before the chords) has a more floaty, dreamy, pink cloud vibe. I would lean into that by reverbing out your vocals and chords AFTER the lfo. Not enough to overpower the lfo, but enough to open it up a little. Other than that, I would just say it needs some transitional FX and maybe some warmer chord layers throughout. Awesome track dude :)

@Richard Holzhauer I pitch the whole track down 50 cents lmao usually works for me

https://www.twitch.tv/dylanejay

@Marc Shoals that’s what I’ve heard as well. Especially when you don’t have any sort of relationship with them. Finished, mixed and mastered.

What are some things that artists think matter for getting booked that doesn’t, and what are some things that they don’t think is important that you look for?