Making A Last Night On Earth Style Track

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Learn my full workflow for building a Last Night On Earth–style track, focusing on melodic writing, sound selection, drums, vocal textures and FX. I show you how to layer, automate and shape ideas into a rich, dreamy progressive / melodic house record.

Chapter 1 – Introduction Preview Chapter 2 – Examples Of LNOE Records Chapter 3 – Building Melodies Chapter 4 – Adding Vocal Textures Chapter 5 – Drums Chapter 6 – Additional Synths Chapter 7 – Effects Sounds

Course Details

In this chapter I introduce the concept behind the course and explain what makes the Last Night On Earth sound unique. I talk about Sasha’s influence, why melodies are the focus in this style, and how my approach differs from when I’m making house or tech house.

Here I break down a few key Last Night On Earth releases, including one of my own tracks, to highlight the stripped-back drums, spacious grooves and evolving melodic textures. I use these examples to train your ears on what we’re aiming to create in this project.

In this chapter I start the track by building the core melodic ideas. I walk you through choosing the right synths, auditioning sounds in Kontakt and Repro, setting up a 16–32 bar loop, sketching melodies, layering pads and bass, and shaping a strong melodic foundation to arrange later.

Here I introduce dreamy, atmospheric vocal textures to lift the track. I show you how I dig through my own sample library, pick subtle ad-libs and phrases, and use them as background layers to create emotion and “hands in the air” moments without relying on a full lead vocal.

In this chapter I build a simple but effective drum groove to support the melodies. I choose a deep, non-909 style kick, add stripped-back snares, tight hi-hats and subtle loops, and show how to create movement and groove while keeping plenty of space for the melodic elements.

Here I expand the track with extra synth parts and textures. I layer new melodic stabs, atmospheres and arpeggiated lines using synths like Serum, Repro and Kontakt, and demonstrate how I think about contrast, space and automation to keep the track evolving without overcrowding the mix.

In this final chapter I add ear-candy and FX to glue everything together. Using Predator and other synths, I design sweeps, delayed hits and “watery” textures, then place them as subtle details that enhance transitions, build tension and give the arrangement character and depth.