A song shouldn’t stop at a border.
lyrical exists because the catalog that already works in one language is the safest place to start in another. We don’t manufacture demand for unknown songs. We take records that have already proven they connect, and make an authorized version for an audience that couldn’t hear them properly before.
Everything is built around one rule: the artist’s performance is the source of truth. We transfer a performance. We don’t invent one. The melody comes from the artist’s own take, the vocal carries their own timbre, and the instrumental they recorded is the instrumental you get back.
Nothing ships that hasn’t been listened to. Measurements guide the work; ears approve it.
More, if you want it
Why it mattersWhat a master recording actually is, and why it is the safest place to start.
A master recording is not a finished product. It is the foundation for everything that comes next, and most catalogs treat it as an archive rather than an asset that can still grow.
Music went global. Catalogs did not. The best songs in the world are still largely confined to the language they were written in, and that is one of the last real barriers between a great song and the audience it was always going to find.
Starting from a record that already works is the lowest risk version of expansion there is. The song has proven it connects. What changes is who can understand it.
OriginHow lyrical started, and the song that started it.
lyrical did not begin as a music company. Jordan and Henry were building technology together, and music was not the plan.
It started with a reinterpretation. Jordan heard a song he had loved for years performed by somebody else, and it landed completely differently. Same song, same words, a different voice, an entirely different feeling. He wanted that to happen on purpose rather than by chance.
Then came the Super Bowl. Watching a stadium sing along to an artist performing in a language most of the audience did not speak, Henry saw something bigger. The reach was already there. The words were not.
Jordan had seen how a different voice could transform a song. Henry saw that the voice did not have to change at all. The language could.
BeliefsThe rules we hold ourselves to, in writing.
These are the positions the work is built on. They are here so you can hold us to them.
- 01
Technology should expand creativity, not compete with it.
- 02
Language should never limit an artist’s audience.
- 03
Artists and rights holders stay in control of how their work is used.
- 04
Software makes possible what traditional production could not.
- 05
A great creative work should not stop evolving the day it was released.
Ways inOne flagship release, or catalog infrastructure. They are different jobs.
Most conversations start one of two ways, and it is worth knowing which one you are having before we talk.
One flagship release
For artists and managers. Open a song to a new market without re-recording it. Artist approved, delivered ready for release, and yours to mix.
A catalog program
For labels and catalog owners. Selected high performing songs, priority territories, authorized asset creation, and reporting that feeds the next round of decisions.
Who you’ll deal with
A small team, which means the people who make the work are the people you talk to.
Jordan Brock
Co-founder
Leads brand and commercial strategy, and the relationships with artists, labels and rights holders.
Background on JordanClose
Jordan's career spans enterprise technology at Dell and Rackspace, helping grow The Happy Co. past $100 million in annual revenue under its publicly traded parent company, and working alongside New York Times bestselling author Shawn Achor at GoodThink.
As an entrepreneur he has built products that were supposed to be impossible: one of the first commercially viable zero-net-carb breads that actually tasted and behaved like bread, early perceptual sugar technology, and Tipsy Tabs, a dissolvable tablet designed to rethink the economics of social drinks.
Every one of them rested on the same conviction, that an impossible trade-off is usually just an unsolved problem. lyrical is that conviction applied to music: an artist should never have to choose between global reach and artistic identity.
Henry McMahon
Co-founder, engineering
Builds the production system: the translation, the voice work, and the pipeline that turns a finished master into a release-ready version.
Background on HenryClose
A Mechatronics Engineering graduate from Monash University in Melbourne, Henry leads engineering and is building the technology that powers the platform.
His work turns an ambitious idea into infrastructure: a system capable of serving artists and rights holders around the world, and of holding a standard high enough that a label will put its name on the result.
An artist’s voice is used only with the artist’s or rights holder’s permission.
Every version is authorized before it is made, and reviewed by ear before it is delivered. Voice models are built only from catalogs we have permission to use. You provide the finished master and the approval; we provide the recreation and the stems.
Make one song multilingual.
Hear it come back.
Upload the stems, or the full mix if that is what you have. We confirm we can take it on, and from that moment you have it within 48 hours, sung in the artist’s own voice over your untouched original backing.
No upfront cost. Nothing is released without your approval, and every version is authorized before it is made.
Have a catalog rather than a song? Tell us about it