aKa Sci Music: A Catalogue That Crosses Genres Without Losing the Creator

Creator Spotlight · First Look · aKa Sci Music

What keeps a music project recognizable when it moves between R&B, UK garage, melodic house and Afrobeats? For Sylejman Makasci, the person behind aKa Sci Music, the answer begins with the creative decisions made before and after any AI-assisted production.

There is an easy way to introduce an artist working with AI-generated vocals: lead with the technology. In this case, that would miss the more interesting part of the story. Sylejman describes himself as the person writing the lyrics, developing the concepts, shaping arrangements and choosing the final direction. The tools participate in production; the project is built around his decisions.

A catalogue, not just a collection of prompts

Sylejman submitted aKa Sci Music to Creator Spotlight in September 2026, describing a project that crosses contemporary R&B, UK garage and 2-step, melodic house, pop, Afrobeats and Mediterranean influences. He had just released Vol 5, a 13-track project, and spoke about building a catalogue instead of treating AI music as a one-off novelty. The 13-track listing is also reflected in the album’s public catalogue entry.

That ambition raises a useful question. A genre can change the beat, pacing and production vocabulary of a song. But if every release sounds like a different artist, how does the audience recognize the person connecting them?

My starting answer is not that a catalogue needs one fixed genre. It needs a point of view. For Sylejman, the point worth exploring is how the same writer uses different styles to serve different ideas while retaining responsibility for the words, structure and final choices.

What Sylejman says he contributes

In his submission, Sylejman was explicit: he writes his own lyrics and shapes the songs’ concepts, structures, arrangements and final direction. He described AI chiefly as a production tool, particularly on the vocal side. A subsequent artist profile published in October identifies the vocals as AI-generated and says AI tools also contribute to production.

Those distinctions matter. Writing lyrics is not the same as performing a vocal. Directing an arrangement is not the same as playing every instrument. And describing the human contribution accurately does not make the creative choices less meaningful; it allows listeners and other creators to understand what they are hearing.

The point is to understand his role in the finished work without blurring the distinction between authorship, direction and performance.

Three places to begin listening

Sylejman chose three songs as his starting points for new listeners. The public Vol 5 track list places Window Seat first, Neon Rain seventh and Half Awake eleventh. Those positions give us a useful way into the album: explore the beginning, middle and later stages of the sequence, then decide what connects them.

The human decision that carries across genres

What interests me here is the challenge aKa Sci Music creates for itself. A project moving between different rhythmic traditions has more freedom, but also more responsibility to establish an identity through choices the creator can explain and repeat.

For another independent music creator reading this, there is a practical test worth borrowing: choose three songs that use different styles and describe, without naming the software, what remains consistent about your songwriting decisions. Is it the lyrical perspective, the way a chorus resolves, the arrangement priorities, the themes you keep returning to, or your standard for a finished track?

That is not a claim that every aKa Sci release follows the same formula. It is a useful question for anyone building a catalogue rather than collecting isolated experiments.

New momentum beyond the catalogue

In an October 27, 2026 follow-up, after reviewing this First Look, Sylejman said aKa Sci Music was approaching 100,000 streams over its first months and reaching listeners internationally, with radio support in several countries. These are artist-reported developments, not independently audited streaming or airplay figures.

He also reported a signed label arrangement covering three tracks, additional label proposals involving “Half Awake” and “Neon Rain,” and early conversations about management and longer-term development. He said an Ibiza-based DJ/producer had requested stems from “Neon Rain” for a possible remix. The other proposals and discussions are not completed releases or guaranteed partnerships; I have not independently verified the agreements or their terms.

Those early responses are relevant to the story because they suggest the work is being heard beyond the original catalogue pages. But they do not replace the most useful question for listeners or fellow creators: what creative decisions make this project recognizable from one genre to another?

Where to follow aKa Sci Music

For now, the most direct way to judge the project is to hear the releases and decide which direction speaks to you. Sylejman identified Instagram as the easiest way to contact him.

Additional context: RaveDubai’s October 2026 artist profile gives Sylejman’s own explanation of the production roles behind Neon Rain and Everywhere. It attributes the background and production details to an interview or correspondence with the artist.