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Jungle AE, Chicago Recording Studio

Chicago recording studio Jungle AE welcomes you!

Welcome to the official website of Jungle Audio Engineering. We are one of the best recording studios in Chicago, and we are very proud of it. We do not just help independent artists record music. We help each and every artist, across all genres, catapult their careers. We have a diverse staff of musicians, producers, and engineers that can help you achieve optimum sound, but we also aim to help you succeed. Chicago is a rich music city and there are many Chicago recording studios. However, Jungle AE is not just a recording studio within Chicago, Jungle Audio Engineering is a movement that is has a mission of  re-establishing the Chicago music industry through genuine and quality productions.

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Jungle Music Mondays: feat. Khori⁴, Hurt Everybody,TreStyle, Colin Drew, LP & JustChris

JUNGLE MUSIC MONDAYS:
feat. Khori⁴, Hurt Everybody,TreStyle, Colin Drew, LP & JustChris

 

Khori– In Seoul feat. Hurt Everybody

Production by Supa Bwe & Zen Zan
Recorded and mixed by Supa Bwe at Jungle AE studios

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Khori⁴collaborates with Chicago’s hottest Hip Hop group, Hurt Everybody (Supa Bwe & Carl) to provide a summer anthem to be bumped as you cruise Lake Shore Drive, 290, 90, 55 or whatever expressway you take.

Supa Bwe provides a playful melodic verse and chorus that compliments Khori⁴‘s versatile delivery. Khori⁴ uses a perfect blend of charisma and polished rap skills to tell his story. Carl finishes the track with a chant, but then launches into a lyrical display of verbal gymnastics that one could argue are unmatched by other young rappers, not just in Chicago, but in Hip Hop.

Click play, listen, relax and sing along.

Twitter: @Khori_4 @HurtEverybody
Instagram: @Khori_4

 

TreStyle – Dark Days, Bright Nights Pt.2: Story of My Life [MIXTAPE]

Production by Ray White, Rel Elite, C.O.O.P, Supa Bwe & Weirdo
Featuring The Boy Illinois, Yahree, Thomas Mac & Pavy
Recorded by Buddy Lee, Alex ‘Excel’ Cruz & Supa Bwe at Jungle AE studios
Mixed by DC for DC Engineering

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Just fresh from joining The Boy Illinois on tour with Chicago’s great, Lupe Fiasco, TreStyle provides brand new music you can relate to.

 

TreStyle’s skillfully crafted lyrics & delivery combined with banging melodic beats will capture you ears for the full 12 tracks of this mixtape. TreStyle represents the blue collared, genuine underdog Chicagoan. He strives for happiness while holding onto hope and letting faith guide him through the journey of life; Dark Days Bright Nights 2 tell this story. DDBN2 is an intimate and personal offering from a very talented rapper.

 

Listen to “Greatness” first, then listen to the rest of the project!

 

Twitter: @IAmTreStyle
Instagram: @IAmTreStyle

 

Colin Drew – All Makes Sense featuring Saint Orleans [SINGLE]

Produced by Ronnie Notch
Mixed by Alex ‘Excel’ Cruz at Jungle AE studios.

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Colin Drew hails from Arlington, VA.  His self-written lyrics paint vivid images while his catchy soothing melodies grab your attention.   The harmonies Colin layers with his main vocals add a warm depth to the recordings.

 

The track is produced by Ronnie Notch (producer of Billboard charting Hakeem the Dream’s “Thick With It”, MTV’s remix of Katy Perry’s “Kissed A Girl” and Mila J’s “No More Complaining”).

 

Just a young heart 
Roaming through the black smog
Tryn’a find my way to the other side”

 

These lyrics at the end of the second verse highlight Colin Drew’s impressive writings skills, usually this type of imagery is left to poets or rappers, yet Colin effectively uses it in this R&B banger. Colin’s attention to detail (his adlibs, harmonies, runs) provides for dynamics that’ll peak your interest throughout this promo single off the Beyond Amazing project.

Ladies be swooned and fellas let it bang in your system.

[used attached mp3 and embed to our website so it can play, but don’t let it be able to be downloaded.]

Purchase the single here!

http://colindrewmusic.bandcamp.com/track/all-makes-sense-featuring-saint-orleans

 

LP – Busy Counting Stars [MIXTAPE]

Production by D.jbari
Featuring D.jbari & DJ Rewind
Recorded and mixed by John Y. at Jungle AE studios

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LP, Chicago bred MC takes his music to another level.

With Hip Hip instrumentals pumping out hard hitting drums fused with soulful samples, D.bari provides the perfect soundscape for LP. Fresh from graduating college, LP covers several subjects and concepts you can relate to. Using his gift for witty rhymes and punchlines, the stories and songs stay entertaining and feeds off the essence of Hip Hop. Listen to Chicago’s underground, underrated, underdog MC, LP. He is one of Chicago’s best kept secret. Enjoy some classic sounding Hip Hop.

Twitter: @LPaypuhz
Instagram: @LPaypuhz

 

JustChris – Nothing Major [MIXTAPE]

Production by JustChris, Key Styles, Dave The King, Swagga B, Relta, TwistaJay & Infynite
Featuring D.jbari & DJ Rewind
Recorded by Chris ‘Thirty-Sixth ShoGun’ House at Jungle AE studios
Mixed by Alex ‘Excel Cruz’ at Jungle AE studios
Additional recording and mixing at Soundscape Studios
Additional recording and mixing by Valentino Burney at Good Energy Studios

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JustChris combines introspective street rhymes over high production beats that are inspired by multiple forms of Hip Hop. JustChris uses all rap techniques from inner and multi-syllable rhyming, poetic imagery, metaphors, and punchlines to tell his story and the story of Chicago streets. His versatility in rap styles makes him dynamic MC, but it is all pulled together by the fact his flow is polished and smooth, something rare in today’s rap game. Listen to his story.

Twitter: @JustChrisnm

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SERVE US SUNDAYS: USE YOUR WORDS by Pat Battle

SERVE US SUNDAYS

PART I

Beats Up, Words Down – Isolating the Issue

pat-battle-jungle-aeWhen the topic of debate is rap music, it goes without saying that content does not always serve as the greatest deciding factor of what is worthy of being acclaimed and what isn’t amongst the general populace. Because the act of rapping a capella is largely exclusive to hip hop culture (as singing a capella has been solidified as an established form of entertainment on more universal level), it is hip hop’s instrumentalism which is often left to bear the burden of capturing a rap fan’s attention. Still, it is the innovative use of language, among other crucial attributes, which contributes to rap’s being the most poetic and effective form of musical expression there has ever been. Like any functional piece of communication, it possesses the power to inform, persuade, and entertain while taking poetry as a medium to narrative heights never before imagined.

Now, when the focus in hip hop rests solely on lyricism on a quantitative level (as opposed to qualitative), it should be painfully obvious to anyone that there has been a clear regression of language. To put it in (ironically) less complex terms, contemporary lyricists are not only utilizing less multifaceted phrases and comprehensive ideas in their music, but are also using far less words in general than their predecessors. With one word punch lines that are more reminiscent of actual jokes than coherent messages, the depth of the average modern rap verse has nearly lost its potential to even be persuasive and informative at all – a severe compromise incited by an overreaching need to simply entertain above all else. Now, although the production style of mainstream rap seems to have altered drastically (as, given time, one would likely expect it to), there is still very little departure from the dependence on cadence. Rappers who are clearly lacking in relevant or engaging content may still be capable of achieving what many may believe to be unwarranted notoriety, while those who lack the very simple and reasonably key element of rhythm rarely ever break ground in any notable fashion where they otherwise might have. Therefore, despite how producers strive to advance their techniques, at the heart of the craft of the composer remains the understanding that the need to at least be on beat is an essential element of rap music that, no matter how obscure, must almost always be executed within at least some traditional bounds of musical composition – at least for it to still be considered rap in the modern, traditionally agreed upon sense. Some conventions are more difficult to defy than others.

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