A song shouldn’t stop at a border.
Lyrical exists because the catalogue 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 authorised 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.
Why it matters
A master recording is not a finished product. It is the foundation for everything that comes next.
Music went global. Catalogues 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.
OriginHow Lyrical started, and the song that started it.
One song changed everything.
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. The same song, the same words, a different voice, and somehow an entirely different feeling. It made him want something he had never wanted before: for that to happen on purpose, rather than by chance.
He could not let it go. He brought it to Henry, convinced there had to be a way to make it possible.
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.
What if artists could perform their own songs in other languages, authentically, keeping the voice, the emotion and the identity that made them who they are?
A great song was never meant to have one life, or one language.
BeliefsThe rules we hold ourselves to, in writing.
What we believe
- 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 catalogue infrastructure. They are different jobs.
One flagship release.
Open a song to a new market without re-recording it. Artist-approved, delivered ready for release, and yours to mix.
Start with one song →A catalogue programme.
Selected high-performing songs, priority territories, authorised asset creation, and reporting that feeds the next round of decisions.
Discuss a catalogue programme →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 authorised before it is made, and reviewed by ear before it is delivered. Voice models are built only from catalogues we have permission to use. You provide the finished master and the approval; we provide the recreation and the stems.
Send us one song.
We’ll show you.
One song, or a whole catalogue. Tell us what you have and where you want it to reach, and we’ll come back with what a first release would look like: what it takes, what you’d receive, and how long it runs.
Every version is authorised before it is made. Voice models are built only from catalogues we have permission to use.
Or email us directly: henry.jamcmahon@gmail.com