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As the trends in music evolve, as does the definition of pop music. Pop started as an abbreviation for popular; since the mid-20th-century, it has become the go-to term to define the music currently holding the most favour with the public. The evolving nature of pop makes it hard to pinpoint the pioneers; some say it all started when performers needed a catchy and memorable song in the Victorian area, while others say that pop began with the original crooners in the 30s.

The introduction of the pop music charts in 1952 allowed a cultural shift to form around music. It was at this point in history that teenagers became a massive target for the media. Before this new social reconstruction, there had been no in-between for children and adults. Just as it is now in the TikTok age, where teenagers can make an unknown artist go viral in minutes, teenagers effectively ran the music industry in the 50s too!

After Elvis Presley reigned supreme in the late 50s and early 60s, the Beatles dominated the charts for eight years until they disbanded in 1970. Throughout the 80s, synthpop took the pop limelight until the Boy Band era was born in the 90s. The selling power of East 17, Take That, Backstreet Boys and ‘N Sync gave Bob and Chris Herbert the idea to manufacture the world’s ultimate girl group; with the Spice Girls, they discernibly succeeded. After the Spice Girls topped the charts, more manufactured pop acts, such as Britney and Mariah Carey, started to surface. Manufacturing is still a massive part of the pop industry, but more and more pop artists are becoming brave enough to break the mould (think Billie Eilish, St. Vincent and Lorde).

Even though the pop charts are more diverse than ever, with Ed Sheeran sitting next to the Weeknd and Dua Lipa next to Tom Grennan, there are still common factors in their pop tracks. Today, most songs that fall into the pop category follow the extensively tried and tested pop formula. Generally speaking, pop tracks are 3 – 5 minutes in duration, use just one key, contains melodically lyrical soundbites that include the title, have a repeating chorus and keep to 4/4 time signatures. Repetition is quite literally key.

Unless it is a ballad or a stripped back acoustic number, pop tracks usually unfold to danceable tempos and rhythms to complement the lyrical hooks. Elements from every genre can be pulled into pop, the main ones being rock, RnB, hip hop, country, Latin and dance. Indie pop was a force to be reckoned with at the start of the millennium, but two decades in, it has lost its foothold to hip hop and RnB, which have become pop genres in of themselves.

Goldfish24 pioneered a new wave of hyper-popped punk with ‘The Pit of My Life’

Goldfish24’s sonic riot of innovative expression, The Pit of My Life, starts with a raw, rugged, and intimate folk-punk overture before the melodicism sinks into a genre-fluid production that toys with the aesthetics of trap and hyperpop to animate an infectious earworm which sets the stage for the artist to emerge as one of the fiercest punk pioneers of his generation.

While the emotions in the single may weigh heavy, there isn’t an inch of space in the evocative riptide of a release for self-pity. Instead, the track is the epitome of running with your idiosyncrasies, embracing the chaos of the world, and finding resilience through irreverently witty tongue-in-cheek humour.

The Pit of My Life is the second chapter in the story Goldfish24 is narrating with his upcoming project, ERRORS IN COMMUNICATION. The single takes the first step in picking yourself up and coming to terms with the fact that life will always suck sometimes, and that’s okay. The mantra reverberates through the motifs as much as the lyricality, attesting to Goldfish24’s ability to fully visualise his psyche through sound. Brace yourself for the visceral vindication.

The Pit of My Life was officially released on August 16; stream the single on SoundCloud now.

Review by Amelia Vandergast

Spiffy Man on Genre Fluidity, Retro Inspirations, and Crafting Stories Through Sound

As Spiffy Man prepares to release his new single, Nights at the Waterfront, he caught up with us to reflect on his artistic journey, moving from the familiar territory of Progressive House into the nostalgia Synthpop. In this interview, he shares the heartfelt story behind the track, his passion for weaving narratives through music, and his newfound love for retro 80s sounds. With a new album in the works and a dedication to pushing his creative boundaries, Spiffy Man offers insights into his evolving musical identity. Discover the depth and ambition driving his latest work.

Spiffy Man, welcome to A&R Factory! We’re stoked to have you as you gear up for the release of your forthcoming single, Nights at the Waterfront, which is due to drop on September 20. What’s the story behind the single? 

Thanks for having me! The story is fairly simple, a tale about two people who are dating and struggle with how to tell each other that they are in love. It’s part of a larger story being told in my album that will be released sometime next year.

What do you think the single says about you as an artist?

As an artist, I feel this track shows more of my diverse side. I’m typically known as a Progressive House artist but now find myself attempting to test my abilities in other genres, Synthpop more specifically for this single.

What was the process of bringing such an intricately layered track to life like? 

This track started off as a collaboration between myself and a friend, Tyler, back in 2021. We had abandoned the project and only recently did I decide to make creative corrections and change the direction of the track. Originally, it was called Late Night in Santa Monica by Tyler and for me, it was about my fiancée and I’s date nights at the Santa Monica Pier in California. So, some of those elements stayed in the track, the location just being Seattle instead of Santa Monica.

Did the genre fluidity come naturally? 

I would say transitioning to different genres is a challenge, but once I get into the flow of writing and producing the rest does come pretty naturally. I do a lot of studying into the genres I want to contribute to and thus become pretty immersed in the work.

After making so many waves in the EDM and progressive house scene, what inspired a shift to a more synth-pop sound?

I always loved the sounds of synthesizers in music from the 80s, from films and television shows to bands and groups such as A-Ha and Van Halen. I’ve experimented with Synthwave quite a bit and feel I found my retro sound through this new single. Some of the best 80’s teen rom-coms had a stellar soundtrack that was heavy on synthesizers and I’ve always wanted to maintain that magic they put out to audiences.

Judging by your streaming stats and the highlights in your career, you’ve clearly mastered the art of orchestrating earworms, has your success changed your relationship with music as an expressive art form? 

I’ve always wanted to tell amazing stories through my music. Over the years, I felt that I needed more visual representations of the story to help people get more involved and in tune to the stories I’m telling. Only more recently have I begun to challenge my emotions into the music and I feel it has definitely opened up the door to new sounds and means of expression.

After the release of Nights at the Waterfront, what’s next?

After this release, I’ll begin promotion for my next Progressive House single with my long-time friend, Sauniks, which will be featured. alongside Nights At The Waterfront, in an album I’m hoping to release in the spring. From there, the sky’s the limit as I’ll continue to push myself to new sound design and new mediums of storytelling.

Stream Spiffy Man on Spotify and follow the artist on TikTok and Instagram.

Interview by Amelia Vandergast

Lie awake in a psych-pop fever dream with Mope.’s seminal single, Wanderer:

Mope.

Despite the somewhat paradoxical pairing of an artist with the moniker Mope. with a track titled Wanderer, the dissonance fades swiftly, swallowed by the entrancing psychotropic waves of the production.

Wanderer traverses through the sonic landscape with a fluidity that justifies its title, enveloping listeners in a deliciously distorted Shoegaze embrace. The track’s structure is a hypnotic hybrid, part leftfield electronica with its syncopated rhythms and part psych pop fever dream, observed through a kaleidoscopic lens. You don’t just listen to Wanderer—you sink, letting the warm, luminous tides of sound wash over you. The commanding, semi-lucid vocals flow like an undercurrent, pulling you deeper into the aural odyssey few can rival.

The genesis of Mope.’s journey is profoundly personal. Following the loss of his father and the bleak dawn of the COVID-19 pandemic, Brad Steed transformed his grief into art, resulting in the creation of his debut album, An Optimist’s Guide to Self-Destruction.

The album, replete with reflections on his journey from sorrow to fleeting moments of peace, offers a psychotropic escape into love, loss, and electric currents. Created in the quiet corners of Raleigh, North Carolina, each song bears Steed’s intimate touch—written, recorded, mixed, and mastered by the artist himself.

Wanderer will be available to stream on all major platforms, including YouTube, from August 16th.

Follow Mope. on Instagram to stay up to date with their latest releases.

Review by Amelia Vandergast

Step into the ethereal with Slender Dan’s leftfield trip-hop release, Field of Reeds

In their latest single, ‘Field of Reeds,’ the breakthrough duo, Slender Dan, affectingly intertwined ethereal strands of pop with the gritty undercurrents of leftfield electronica and the rhythmic complexity of trip-hop.

From the outset, this melodiously rendered explosion of style and beguile sinks its teeth into your senses, weaving shadowy notes with luminous beats to create a soundscape that spans the full emotional spectrum. The deep and resonant hooks pull listeners into a weightless, transcendent production, showcasing Slender Dan’s potential to hold dominion over the alt-electronica scene.

You couldn’t listen to the arcane yet soulful production half-heartedly if you tried. The glassy celestial vocals demand undivided attention as they drift through the soundscape which oscillates between chilling and warming the soul by echoing the intricate balance of light and dark.

Behind Slender Dan are Heather Dickson and Patrick Ahern, a duo whose previous collaborations have seen them grace stages and studios from Los Angeles to Nashville, alongside notable names like Portugal. The Man and David Z. The band first caught the public’s attention with a debut on KEXP in early 2021 and has since expanded their discography with the full-length album ‘GESTALT’, along with several impactful EPs.

The official music video for Field of Reeds premiered on August 9th; stream the video on YouTube or check out the track on all major streaming platforms via this link.

Review by Amelia Vandergast

Jake Marshall tore the sutures off his wounds for his folk-pop debut, bad singer

In one of the most vulnerable and soul-baring folk-pop debuts the airwaves have ever witnessed, Jake Marshall tore the sutures off his wounds and stood in front of the world unfeigned with his debut single, bad singer.

With gospel motifs swelling around his vocal lines that simultaneously exhibit his impressive octave range and his ability to convey heavy emotions in even the highest registers, there’s something profoundly sanctifying about the opportunity for connection presented by bad singer.

The titular paradox of this track is just one of the ways Marshall artistically shines in the raw vignette of his trauma that would break most and resign them to shame. The power of fortitude resounds through the release which proves that even if you live and sing in spite, you can salve the pain of others as you chart your arc of healing.

bad singer is Jake Marshall’s candid reflection on overcoming self-doubt instilled by past relationships. With evocative melodies and introspective lyrics, the song chronicles his journey from being told he couldn’t sing to embracing his voice. The track captures the essence of his unique blend of sad folk-pop, setting the stage for his forthcoming EP, Love(s) of My Life.

Stream the official music video for bad singer on YouTube now.

Review by Amelia Vandergast

Catch the fever of euphoria in Bekah Wilbourn’s sophomore single, Lost in Colombia

Bekah Wilbourn took the Latino Pop scene by storm with her cinematically melancholic debut single, Go Numb. On the 19th of July, the airwaves witnessed a different side to the songstress with the unveiling of her sophomore single, Lost in Colombia. Orchestrated as a celebration of multiculturalism viewed through the lens of a one-in-a-lifetime love affair, Lost in Colombia is an instantly infectious fever of euphoria.

As the strident horn stabs meet the mesmeric rhythm of the Latin percussion, a carnivalesque energy sweeps across the panoramic production which enshrines the El Paso-based artist’s expansively arrestive vocals that embody vitality.

In a time when it feels as though division is eroding connection, Bekah Wilbourn did so much more than simply contribute to the airwaves with Lost in Colombia, she served a reminder that, unlike prejudice, love knows nothing of borders.

In her own words,

“Lost in Colombia tells the heartfelt story of a journey driven by love and cultural immersion. The song’s narrative explores a deep, personal connection where the protagonist finds herself yearning to embrace the Colombian culture and lifestyle after meeting a lover in Colombia. The lyrics reflect her desire to step out of her comfort zone and fully integrate into his world, longing to be lost together in the enchanting and magical city of Colombia.”

Lost in Colombia is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Carey Clayton rebooted retrofuturism with the seraphic synths in his latest single, Future in a Past Life

Carey Clayton brought the sound, synths and soul of the 80s to their latest in a long line of seminal singles, Future in a Past Life, while etching into the nostalgic hallmarks with his indelibly scintillating sonic signature which scribes beyond contemporary trends.

The title alone is enough to spark a profound meditation on its poetic meaning; when you sink into the release, you’ll start to swim in the temperate, tonally seraphic spectres of reflection, artfully amalgamated by the LA songwriter, producer, composer and multi-instrumentalist, who has become revered for his stylistically expansive body of work.

Future in a Past Life, caged within his third LP, Headless, may be composed of different aural anatomy from his previous releases, but fans who came to adore Clayton for his past work will find their appreciation for the visionary renewed by the sense of spirituality which drifts between the instrumentals in the polished production.

Clearly still humble after his music being sought after by Netflix, NBC, ABC and the Tribeca Film Festival, Clayton synthesised straight from the soul with Future in a Past Life, which fuses the arcane emotive air of Cigarettes After Sex with the kicks and grooves of Django Django.

Future in a Past Life was officially released on July 19th; stream the single on Spotify now.

Review by Amelia Vandergast

Drenalin – This is My Night: An Alt-Rock Anthem of Hedonic Liberation

Drenalin, an Emmy-award-winning ensemble from Cleveland, OH, established in 2005, were out to wreak maximum emotional havoc with their latest single, This is My Night.

The track ensues with fitting-for-Broadway vocal intensity, intertwined with fantastical orchestral elements and playful, carnivalesque twists that would resonate with any Nekrogoblikon fans. As the track progresses, Drenalin evokes the early 2000s metal scene, reminiscent of Drowning Pool, Soil, and Fear Factory, but the transmutations in sound don’t end there.

The song’s structure is meticulously crafted, with each melodic transition pushing the boundaries of emotional catharsis. The interplay of hard-hitting fury and rock opera flair is nothing short of prodigious; the volition is teased through tensile with innovative vision progressions to ensure anyone who bears witness to the anthem of hedonic liberation will feel its maximum force.

It is so rare to say that you’ve encountered an outfit with a sound no one would ever conceive without replication, but clearly, Drenalin is a diamond in the rough of mediocrity.

Stream the official music video for This is My Night on YouTube now.

Review by Amelia Vandergast

ARCTISKY countered divisive propaganda with his latest slice of reggae folk pop gospel,  Let Freedom Ring

By using MLK’s famous speech which shares a vision for an egalitarian future in the intro to his latest single, Let Freedom Ring, the Melbourne-based singer-songwriter, multi-instrumentalist and producer, ARCTISKY, affirmed that almost 80 years have passed since the revolutionary called for peace and equality, yet, tragically, his dream is yet to manifest.

The sublimely uplifting folk-tinged reggae rhythms counter the divisive propaganda perpetuated by the media which is playing a pivotal role in increasing hostility as ARCTISKY’s arcanely honeyed harmonies become conduits of compassion within the gospel-esque atmosphere of the cultivated single which paralyses through the purity within the crescendos.

Let Freedom Ring is an opportunity to slip into the sanctity of a conflict-free society, a reminder that we can’t stand idly by and hope that a resistance rectifies the pervasive prejudices that are destroying societies and making enemies of the innocent. The call to action which sets a tone of historical reflection and aspiration couldn’t hit closer to the bone.

Let Freedom Ring will be available to stream on all major platforms from August 9th. Find your preferred way to listen on ARCTISKY’s official website.

Review by Amelia Vandergast

From Ghosting to Growth: Trisha Reclaimed Her Self-Regard in Her Trend-Ascending Pop Hit, MVP

https://soundcloud.com/trisha-singss/mvp-demo/s-2IJES7EaZOj?si=17f8d53e4f534e9ea93eb535153ea798&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

The airwaves are saturated in laments on romantic rejection, yet few artists are vulnerable enough in their candour to meditate on the disintegration of friendships; the magnetically daring, hypnotic chill pop artist, Trisha, threw down the gauntlet on unchartered vulnerable ground with her latest single, MVP.

The empowering advocation to always treat yourself as the MPV (Most Valuable Player) marks the 15-year-old singer-songwriter as one of the most fearless lyricists on the airwaves. The transformational power of the release belies its chill-pop serenity; therein lies the beauty of the coming-of-age artist who has already mastered the art of emotional maturity and intelligence which filters into her raw-with-resonance releases.

Echoes of 90s pop breathe through the intricately melodic production which paradoxically cuts across and beyond contemporary trends, affirming that if any emerging artist has what it takes to make it to the top of the pop charts in 2024, it is Trisha.

Trisha Said:

“I wrote “MVP” about trying to regain my self-esteem when I found myself frequently ignored by my closest friend. Our relationship had deteriorated into one of apathy and I found myself constantly making excuses for her. Writing this song really helped me reinstate my sense of self-worth, establishing that I am the MVP in this equation.”

MVP will be available to stream on all major platforms from August 9th; stream the single on SoundCloud first.

Review by Amelia Vandergast