A&R Factory conducts exclusive interviews with independent bands, musicians, and artists from around the world. We converse with musicians about their upcoming releases, planned tour dates, and other topics that make them unique and stand out from the crowd!
To be featured here and interviewed, submit here.
In this candid interview, we sit down with Jayne Sugg to explore the profound changes that have shaped her artistic journey, from her early days rooted in religious music to her current introspective sound. We chart the pivotal moments that influenced her songwriting, her experiences growing up with the music of the 60s and 70s, and the challenges she faced during her creative rebirth. Jayne also shares the inspiration behind her upcoming album, Belief is Hard, providing insight into how doubt, belief, and transformation continue to drive her music forward.
Thank you for having me! I appreciate this question because making such a decision really did affect my writing and music for the better.
Perhaps people raised in very devout families (of any religion or belief) who are reading here can grasp this: when you have inherited such a deep faith from the roots of your family, it will touch every aspect of how you live, how you think, and how you understand the world. I grew up in church. That has its pros and cons. A major pro is how beautiful and mystical many of my experiences in church were.
I still identify as a person of faith and staying connected to God is a key source of joy in my life. One of the biggest musical pros of course, was how incredibly vivacious and open and musical our community was. People would dance and sing and jump and shout. The songs we sang were original and written by the musicians on stage. The choir was huge, and the instruments were innumerable. I was singing along with my whole heart by the time I could stand on my own. That infectious love of music and atmosphere got into me, and I became part of the music team in middle school.
The opportunity to work with solid adult musicians, learn to song-write, lead a band, understand live performance, and do it every week as a teenager is something I still consider to be invaluable for my art today. I picked up multiple instruments during that period and got to play live often. Of course, once I got to college and went through a time of critical thinking and identity-shaping living on my own, life got very real and then came the cons.
Though faith and spirituality are still very important to me today, I had to significantly shift all of what I believed in order for any of it to survive. One of the biggest tenets I chose to let go of was the idea that all my music had to be “to God” and “for Christians”. Those limits stunted me greatly, they made me fearful and over time, blocked me fully. I didn’t know how to write music for myself, since I had only made music for the church. In 2020, I had been living in NYC for 3 years with my husband. Our neighborhood was on lockdown because of the pandemic and I decided to try and write music again. I found a book on my shelf called “The Artist’s Way” by Julia Cameron and started her 12 week program to unblock the artist within.
I realized that the most beautiful art, to me, was honest and true to the artist making it. So I stopped writing songs for certain people who believe certain things. I began to write songs about things that were on my mind: lost friendships, restlessness, doubts, chronic pessimism. Real things that are authentic to the human experience. 4 years later I have one EP out and my first album is on the way, which is something to show for that self-work and my spiritual journey. I’m really proud of the transition I’ve made for myself.
Absolutely! Actually, bandmates and friends tease me because I rarely listen to anything that’s come out in the last 20 years. Sometimes I feel like my music taste was born in the 60’s and 70’s and latched itself onto me as a kid in the nineties, hanging in my dad’s office while his 300-CD-changer stereo blared The Doobie Brothers, Pat Metheny, Sly and the Family Stone, Everything but the Girl, Steely Dan, Miles Davis.
When we were recording both my EP and most recently this album, my producer and the band wanted to hear some songs that inspired what I was writing. Over and over again, I played the Spinners, I played Fleetwood Mac, Michael Mcdonald’s “Losin’ End”. Anything timeless, classic, with that brilliant tape-machine grit from an old studio and those seemingly pixelated sounds– I love it, and I want it to come through in my music.
In reference to the backstory that I’ve already shared a little in this interview, I’m really grateful to that book because a huge part of the work is to first notice the lies that you’ve been telling yourself about your creative limits, expectations, and the kind of life I think I should be leading as an adult, as a Christian, as a woman, etc. Then, you learn to allow yourself to be expressive freely, in any way you want. Finally, you take a risk to bet on yourself to share that art with the world. In completing the book and the program, I was able to admit that I wanted to make music on a professional level, that I could pull it off, and that I had the guts to take the leap and go for it. Identity redefinition: complete! Haha.
Because faith is such a pillar in my life due to my upbringing and experiences, it’s the subject I am most comfortable writing about. When I had to decide for myself what beliefs I would keep, and which I would let go of (many religious sects refer to this as “deconstruction”), it was scary. It felt like the ground beneath me was falling through. It felt like God, who used to feel so close, was now unfathomably far. It really skewed my ability to keep old routines and habits that I’d spent my life learning. What better fodder for songwriting than all that? Ha! I write as an outlet.
Making songs about my own deconstruction was incredibly freeing and therapeutic. Yeah, like you said, the album is called Belief is Hard, named after the title track. That song especially encapsulates the main theme of almost every song on the album. Hoping for anything in today’s world is costly, messy, and far from easy. Counting on something, staying positive, praying and assuming anything could come of it– all of that can be impossibly difficult.
Where I come from, doubt is bad and belief is good. Where I am now, both can exist in the same place and are on the same spectrum. Many of the songs on this album just ask questions, and don’t really give any answers. “Speak to the Sky” is a song whose chorus asks where prayers go and what effect they even have. I don’t have that answer and I didn’t try to write one in the song. A lot of my songs and lyrics, listeners will notice, are just musings on faith and life. I’m hoping it can help people realize that being curious about life and its meaning is actually an okay way to live. It’s also an interesting way to experience and engage with remaining beliefs.
There are so many phrases and “colloquialisms” that come from church and ancient proverbs and holy scriptures. They make for very beautiful metaphors and I actually really enjoyed weaving them into my songs on this album. One of my favorites on the album is called “Cosmic Vision” (just released as a single this past week!) The overarching idea is what a curse it can be to see everything in black and white: heaven or hell, good or bad, right or wrong.
When you’re developing into an adult and everything you’re taught is so extreme, it can be exhausting and confusing to make decisions and find your way in the world. I call this phenomenon having “Cosmic Vision”. I sing about how I was born wearing glasses that only saw life one way. I also poke fun at Christian phrases like “spiritual attack” and “backsliding” and “eternal life”.
Another song on the album called “Electric Fences” is about losing a friendship, but I use the epic metaphor of shipwrecks and black water and darkness, all thanks to my upbringing with Biblical storytelling. Writing this album has been a really fun stretch for my imagination and it also pushed me to use what I know in a totally different, counter-intuitive way.
I always have a big vision for my work: every note and production aspect is already in my head and ready to record if only I can explain it, write it, and lay out the chords, exactly as I have in mind, to all my bandmates and producers. That alone is emotionally demanding and it all came to a head for each song.
But one particularly tough one all the way around would be “Running from Me.” I called it my “red-headed stepchild” song for weeks in the early production phases because it felt so disconnected from my other songs on the album. Even in energy alone– it just took a lot of energy to write, to demo, to record, mix, produce! I even changed some of its lyrics again the day of recording at the studio! It was also stressful to record: lots of moving pieces, musicians, opinions, and limited time to get some sessions laid out. It was laborious to the very end, and even though I love the way it turned out, its final form really surprised me. I originally recorded the demo as a funky-soulful tune, and it evolved into an Abba-esque pop anthem (which I desperately wish Stranger Things would pick up in their next season, haha). As much of a groove as it is, it was also hard to write lyrically. I knew I wanted to capture the feeling of not really knowing yourself, your tastes, hobbies, likes, dislikes, when you’ve been conditioned to constantly redirect everything to religion…but I had no idea how to say that in a nuanced way. This one took many tries and has dozens of trashed lines, until I got it just right. My favorite on being “Ego based on every expectation given. Is my ghost that holy? Cause I never feel her when I’m alone, lights out, a quiet room. I keep on running from me.”
Oh my god, asking my community to believe in my art and back it with money was incredibly difficult– my Kickstarter campaign truly had me at my most vulnerable and also my most grateful. It showed me that art worth making and showing, poignant music projects, and big dreams, “take a village” as they say. Artists can’t do huge projects alone and shouldn’t try to. It also showed me that hundreds of people believed in my work and wanted to hear the music I was making.
Once I was fully funded, so much emotion washed over me– I was standing at a Citibike dock in the East Village, getting ready to ride to work, and I just started crying when I got the email that I met my goal. It felt like all the people who believed in me just lifted me up onto their shoulders so I could climb to another level. Professionally, it has added a lot of responsibility and organization to my repertoire of musicianship too: getting my rewards to everyone who bought one, be it an original cover song, handwritten lyrics, a personalized thank you note. It’s also kept me on top of deadlines to get this album recorded, sending updates and videos about the progress, releasing footage and songs to supporters and backers. It’s been a journey and the campaign has really helped to keep everything moving.
Both spaces are so incredibly beautiful and peaceful. As someone who’s been living in NYC now for 6 and a half years, quiet streets and starry skies are so precious to me. Each studio gave me a lot of peace each morning and night and during the breaks between tracks. At Sonic Ranch, the Good Shepherd Collective was there as well, recording huge batches of songs for the year, so musicians were everywhere, all the time: eating in the kitchen, walking by the pecan farm, chatting by the casitas. Even if they weren’t playing on my song, they’d pop in during my recording times and bob their heads to the playback, or offer some tips / praise to keep us going. That was amazing.
At Dreamland, it was all me, all day, with my bandmates. We spent two days there and recorded nonstop, only taking breaks to eat and sleep. The creative energy and life force was palpable! We’d play it back, Juan Solorzano on guitar would want to go in and try something else for the song. Jordan Rose on drums would add tamborine after bongo after chime. John Arndt on piano would find an organ he wanted to try and add. David Gungor on bass would play new riffs until they hit perfectly. While the time at Sonic Ranch was more of my jumpstart since that’s where we recorded the first three songs that shaped the album, the time we had together at Dreamland really felt visionary, like a total craftmanship-zone to complete the album (post crowdfunding).
I want this album to find people who love a timeless sound, candid lyrics, and my voice. I am as much of a vocalist as I am a songwriter. I also want to shed light on the particular human experience of deconstruction, of identity shift, of tearing down to build again, better and stronger– the beauty and terror and pain of self-actualization and healing. I want it to be a catalyst for my future projects because this is my first project of being completely honest and vulnerable about an aspect of life to which no one is a stranger. I always want to be found making music as an ode to the beautiful retro influences that raised me, but also for that music to place emphasis on different human experiences we all move through, as I move through them. That’s the best way for art to serve the artist, and its audience. And I am all about that.
–
Stream Jayne Sugg on Spotify; follow the artist on Instagram and TikTok for more updates on her forthcoming LP, Belief is Hard.
Interview by Amelia Vandergast
KAotik, a dynamic figure in the hip-hop arena, recently shared insights into his creative process and the cultural influences that shape his music. In an exclusive interview, he explores the significance of his Nigerian heritage, his spiritual beliefs, and how his varied life experiences across different cities and continents feed into his lyrical themes. Through it all, KAotik maintains a commitment to originality, ensuring his music remains true to his vision while resonating with a diverse audience. His independent label, Vintage Note, stands as a testament to his dedication to forge a unique path in the industry.
Well, when I was younger I’m guessing at around the age of 8 years old in the mid to late 80s, I listened to a lot of R&B. I was infatuated by artists my parents played such as Bobby Brown, Michael Jackson, and Lionel Richie. Also, I admired other artists I picked up on from the radio on my own such as Anita Baker, Whitney Houston and Al B. Sure. I didn’t gain any interest in Hip Hop till I was around the age of 14 in the early 90’s. I can recall my first time experimenting with Hip Hop. A friend and a couple of my brothers recorded a Hip Hop song we made up on a stereo system with a tape recorder. I remember as I grew older my mom bought me a boombox and me buying my first tape. A Hip Hop artist out of Texas named Mr. Mike.
I would say there is a bit of influence from my Nigerian roots to how I create music. Some of it may come from how I create some of my beats, which sound a little like Nigerian music. Also, I may have a track talking about my culture in Nigeria or have a track saying a word or two in the Igbo language of Nigeria. Growing up as a catholic, my parents played a significant part in my upbringing for the love of my Lord and savior Jesus Christ. God is very influential in my creativity and how I put together my music. The Lord’s influence in my music is very evident especially now that I’m older.
My concepts and ideas on what I write about haven’t changed much since my transitions internationally and nationally. When I lived in D.C. I was very young so my memories over there were very vague. When I was in boarding school in Nigeria I pretty much wrote about life and what was happening around me. Now that I’m in Laurel, MD I also do a bit of the same thing. But now I’m more experienced along with more clever wordplay and more sharpened skills.
When I first started to pursue Hip Hop more seriously, I was living in my old stomping grounds of Silver Spring, MD years back. When my partner in rhyme and I formed a group, we entered a lot of open mics and Hip-hop contests. This developed my confidence as an artist and helped me gain stage presence. As I went through my phase of joining a larger group, I began to grow with my writing process, learned how to work with other artists and my ability to perform was enhanced. Finally, as a solo artist, I took all those skills I learned being in groups and utilized them to my advantage. I also developed in other fields such as knowing how to navigate through the music business more fluently.
I do my best to be relevant in Hip Hop with the music I put out now. But that is not my main objective when doing music. I prefer to just be my own original self and put out material that’s not going to be trendy or what everybody is doing. At the end of the day when I evaluate it all, I gotta ask myself the question, is the material I’m putting out being true to myself or not?
Honestly, KRS One, Rakim, Big Daddy Kane, Black Thought, Last Emperor, Inspectah Deck and Keith Murray all had a profound impact on my motivation and determination to build my own legacy. But if I had the difficult decision to choose one artist, I would go with Black Thought. The reason being is he is the only artist I really was emulating while I was finding my way as an artist. Also, he has one of the nicest pen games in Hip Hop, he kept his integrity and never changed throughout the years for relevancy.
Yeah, It’s a label I started years ago when I became a solo artist. So far, I’m the only artist on the roster but that could change in the near future. At the moment my label is being distributed by CD Baby. Eventually, my goal is to be able to receive distribution from a larger independent distributor such as The Orchard or Empire.
I’ve been doing this music thing for several years now and through it all I haven’t budged from keeping my distinct perspective in Hip Hop. There are a lot of different influences in this genre of music that you can easily pick up. But I kept my integrity, and continued to stay true to me and put out material that I’m known for. Regardless of what an abundance of people say, such as my perspective on Hip Hip can’t be done or can continue to flourish. I’m proving them wrong because I’ve been active as an artist these past number of years and that’s how the title They Said It Couldn’t Be Done came about.
Well Lord willing, I hope to be putting out several new projects in the following year. Look out for them! Also, I will be doing my best to be booking more shows because I’ve been on a drought for that. Plus I’m gonna continue to build and develop my label. I also have some business ventures I’m looking into. Other than that whatever the Lord blesses me with creatively or inspires me to do, no question I will pursue. Peace.
–
Stream They Said It Can’t Be Done on Bandcamp now.
Follow KAotik on Facebook and Twitter.
Interview by Amelia Vandergast
In an exclusive interview with Samantha Rae, a name quickly becoming synonymous with contemporary country supremacy, we discuss her debut LP, The High Road, which has positioned her as an infectiously unreckonable force in the industry.
Samantha discusses her approach to maintaining emotional authenticity within her polished sound; we also gain insight into her collaborative dynamics with co-writer and manager Jay DellIsola, the creative challenges they navigate, and her vision for her burgeoning career.
Thank y’all so much for your kind words and interest in The High Road! Gaslighter sits right in my vocal wheelhouse which helped us produce the way we originally envisioned it. We really wanted the chorus hook to pop so we set it up with a little rhythmic anticipation in the prechorus “I’d do anything for you”. This is a good example of how Jay and I construct our rhythmic textures. In the studio, we went through each lead vocal take again and again to find the one we loved the most. We really love this song and I am so happy with how it turned out!
Many others have probably said it better than me but I truly think if you write your own songs or create something lyrically that you’ve been through, or deeply relate to, then the truthfulness comes out on its own.
Just keep writing and creating what you love! No formula or secret button, although having a co-write partner like Jay has been critical to staying creative and energized to make your ideas and music come alive! Our songs are usually a product of our combined influences that span classic rock, mainstream radio pop, rhythm & blues and classic country. There’s usually a deeper personal meaning behind a lyric but we love that people relate to the lyrics based on their own life experiences.
Honestly, for me, it was when all the songs finally dropped and they were born into the world for people to enjoy! We also really love developing as artists and songwriters. There’s always something we’ve learned that we can apply to our new material.
Jay and I have been friends and worked together for a long time, we played in bands together up in Boston where he played drums and I was the lead singer. Before this journey together, Jay always had a vision and would get things done with his passionate drive. He has always supported my talent and when we decided to spin up “Samantha Rae” as a solo artist, we knew we could create something special together. When we combine our song parts and creative ideas we end up with something that works well for us.
We definitely are always working to create for the fans and I’m sure they’ll see some behind-the-scenes and the making of The High Road album in the future 😉
We’re already writing a brand new batch of songs and we also have about a dozen on the shelf we really love that haven’t been released yet.
I would say mostly a continuation but as an artist, there’s always room for growth and a little movement. My pop-rock country roots are grounded and we’ve created a ‘sound‘ that we’re proud of. So if the fans love it as much as we do then we feel like we definitely have a winning recipe!
–
Stream Samantha Rae’s Highroad LP on Spotify now and keep track of her latest releases via Instagramand TikTok.
Interview by Amelia Vandergast
This week, we sat down with Dan Bibby & the Aesthetic Knobs as they make their ascent and become the premier pop punk powerhouse of this generation following the launch of their debut album Become More on July 24th. In this exclusive interview, we explore the band’s origins, the humorous genesis of their moniker and the evolution of their fast-paced punk roots.
Haha, you’re not the first to ask and you surely won’t be the last. People’s minds often head straight for the gutter when they see our band name, and while we don’t blame them, there’s actually no filth intended!
It’s a reference to our first-ever rehearsal. Or, to put it more accurately, our bassist’s (Jay) audition. He’s since admitted he was very nervous, but all we could see was him struggling to work the amp in our practice space. He was just turning the knobs on the amp and they were doing nothing, and someone said they were just aesthetic knobs, which we jokingly said would make a good band name, and it stuck.
The reason it’s Dan Bibby AND the Aesthetic Knobs is because, initially, it was a solo artist and backing band situation, which very quickly changed as we became a four-piece collaborative band that wrote everything together. We just never changed the name. We’ve thought about changing it a few times. Who knows, maybe one day we might.
I had written an album I wanted to play live and needed to recruit some friends to help me pull it off. I was already in a cover band with Pete (drums) and Hagrid (guitar/vocals), so they were easy to find. I’d known Jay for a few years, and he reached out after I posted an ad for a bassist. As soon as we played one show together, we knew we’d found a stellar combination of people – even if we say so ourselves.
As well as my guitar and vocal duties, I’m the main coordinator of the band. I make sure we stay on track with writing, rehearsals, organizing studio sessions, that sort of thing. We don’t have a manager right now, and there’s a surprising amount of admin and social media stuff for an independent band that I tend to take charge of too. I can get a little overbearing with it all, as I’m sure the other guys would agree, but I struggle to ever really switch off.
Hagrid is great at adding flair to key moments in songs, and even he’s admitted he doesn’t quite know what he’s doing in the moment! He has an incredibly improvisational approach to many aspects of being in a band, which generally tends to serve him and us well, but it can stress me the hell out.
Jay is one of the band’s biggest fans – by his own admission. So, he’s kind of like an embedded cheerleader for himself and all of us. He has a natural ability to inject enthusiasm into many situations where it can be difficult to stay motivated. He also has a knack for coming up with perfect solutions to crossroads during writing sessions. The downside? He likes to make up his own terminologies to refer to these brilliant ideas. So, it can take a while to translate what he’s saying.
We’re forever counting our blessings that we have a drummer like Pete. Not only is he great at his instrument, but we don’t have to share him with any other bands! Anyone in a band will know how rare it is to find a drummer who ticks both boxes. He can also be a bit of a hothead when he sets his mind on something. He’s not particularly immovable, but he does have a tendency to get his point in before everyone else, and he says it loud.
It’s something of a sonic rollercoaster. We tried to make sure every song was distinct, but that they still sounded like they were from the same record. It was a difficult balance to find, but I think we did it. For every hard-hitting, heavy moment, there’s a stretch of laid-back, fun periods. There are several flashes that I still think are brilliantly unexpected, but in a way that brings a smile to my face, so I hope others get that same feeling when they listen to it as well.
For those who’ve heard our older material, there’s still plenty of the rapid, punk rock stuff. But we’ve also thrown in some tracks that offer an artful breather over the course of the album.
I wouldn’t say these two songs set the tone on their own, but they add to the tapestry of clues that the previous three singles have also helped create. There are a lot of different rock sub-genres on the album, so each song is another piece of the puzzle. Out of context, they could even be interpreted by some as being by completely different bands! But I also think there’s a tangible connection between them too. It’s the same four guys on all of these songs, and you can tell.
We used to very much get caught up on playing everything fast and loud, and you can hear that on our previous two EPs. It’s not a bad thing, as we still love playing fast and loud now, it’s just that we’ve made an effort to add extra strings to our bow for the album. We only really realized a few songs into writing that putting together an album isn’t identical to doing it for an EP. An EP can easily be four or five songs that are gone in the blink of an eye. We could easily have just carried on what we’ve always done – which we have, for some of the new songs – but where is the fun in retreading old ground?
Our main shared love music-wise is all the pop-punk royalty bands from the 90s/00s. So, there’s a lot of that in there. However, we didn’t want to sound like we’d just written an album that would slot perfectly into that period. We’ve leaned into more modern rock bands who are kind of spiritual successors to some of our favourite bands. Acts like Hot Milk, Badflower, Mom Jeans, they all had an impact on how the new material sounds. We never make a conscious effort to sound like any band in particular, but it’s tough not to hear the influence when you listen back.
It was relatively tricky, yeah. As I said, we play most songs a million miles an hour live, which isn’t something that always translates well to a studio recording. So, it was a struggle to reign ourselves in at times and remind ourselves that we can always speed it up a bit when we hit the stage again. Hagrid suggested fairly early on in the process that we needed to work the new songs into the sets so we could workshop them live, which really benefitted the material in the long run. On the whole, I think we balanced the end result really well. The songs will always sound more raw live I think, which is always good.
We went right back to our regular producer when we knew we wanted to record an album. His name is Tom “Dringy” Dring, and he’s recorded every single one of our songs so far. We’ve built up a great working relationship and friendship with Dringy over the years, and he’s increasingly less afraid to tell us when a take was shit and that we need to do it again. It’s a slap in the face every time, but one we welcome because it makes the end result the best it can be. He also laid down the sax solo in Deep Breath, which is one of my favourite moments on the entire album.
Our friend Pook also played the trombone part in Falling Like Flies. He’s in an insane ska/metal band called Redeemon, and he sent us the recording remotely, and we’re very grateful he found the time to help us out! Also a huge shoutout to Jen and Abi for helping us with the gang vocals in Deep Breath.
The four of us are in this for the long haul, and I think spending every spare moment, penny, and ounce of energy we had on recording one album for two years helps prove that. There was never a moment when we considered giving up, or ever really got frustrated with the process. We’re incredibly proud of how it’s turned out, and it’ll take us beautifully into the next stage of what we hope to achieve – which is a whole goddamn lot. A debut album can help set the tone for a band, regardless of any previous releases, so we’ve given this one everything we’ve got.
–
Stream Dan Bibby & the Aesthetic Knobs on Spotify, and follow the band on Instagram and TikTok.
Interview by Amelia Vandergast
Georgina White took time away from her versatile artistic career to share how she discovered and refined her unique sonic identity, one that beautifully melds old-school soul with a diverse range of influences—from classical to folk and jazz. The conversation reveals the eclectic nature of Georgina’s music but also her profound connection to her artistic roots and the personal evolution that shapes her craft. From early influences watching her mother perform opera, to her own experiences on the West End stage and her explorations during the pandemic, Georgina’s career is a testament to perseverance and artistic amalgamation. Her narrative offers a fascinating glimpse into how her multifaceted career in music and acting intertwines and influences her creative output and performance style.
Hi Amelia! That’s a great question and thank you, that’s a huge compliment… I spent a long time searching for my authenticity and sonic sound; I now believe I always had it within me but it’s taken years of playing various roles, singing in so many different styles throughout my career and using all this experience to create my own authentic sound.
As you said, my style is certainly eclectic – I’ve always sang from the soul but with classical influences from my opera singing mum and folk playing grandparents. Add some sultry jazz/blues, theatrical playfulness and a powerful belt and there’s my signature tone!
I spent a lot of my childhood watching mum on stage being an absolute vocal powerhouse. I was mesmerised; it was vibrant, exciting and empowering. I knew I had to follow suit – not in opera but performing in many different ways. I was cast in a West End show when I was 15 and it all took off from there. I started writing a lot of my own material during the pandemic when I escaped to my home studio for peace of mind.
They’ve always been incredibly intertwined; I’ve worked consistently as an actor/ musician in theatre since graduating from RADA so it’s influenced the way I think. Words come to me easier over music. I can understand what’s going on in my life a lot more when there’s background music playing!
When acting, I will always do a vocal warm-up before a performance to ensure my voice has its true range and sometimes I’ll sing my lines in practice to find colour and flavour.
Definitely. Each song I now release feels like it’s performed by a different character; a contrasting layer. But they all add together to create something whole. Me.
They can expect a very eclectic set! Originals from the heart accompanied by a live band or me on keys. Cover mash-ups going from blues to rock that will make you want to bop and (depending on the show) a variety of musical theatre characters that will make you laugh and cry. I also play sax and bassoon!
I sing from the soul and I say it as it is, so hopefully that. I’ve also been around a while, faced a lot of rejection and really worked my ass off. I’ve had 2 number 1s in the UK Chart of Gold with my soul covers which has been a dream come true.
I’ve been told I’m good at atmospheric storytelling and I like to play with vocal styles and tones so hopefully the audience is kept engaged. My more peaceful music has been described as therapeutic too.
I think, perhaps, they don’t know what I’ll do next… Nor do I sometimes! I work with my talented and experienced producers at Creative and Dreams Music Network to figure out what the next step is.
I’m so incredibly grateful for everything I’ve achieved and experienced so far. I’m looking forward to more growth as an artist; more writing, experimenting and understanding myself and what I want to say. Being brave. Oh, and an album is on its way!
I’ve been playing at festivals this Summer (Old Town Live is next on 27th July) and I have more theatre coming up later this year too (that I can’t talk about yet!). I’ll be working towards a solo tour of the UK and hopefully internationally too.
Absolutely. I’ve got ready recorded singles up my sleeve, it’s now all about timing. I’ve been on the road for 9 months with theatre productions so having a little rest before it all takes off again! Thank you so much for listening!
Listen to Georgina White’s latest single, LOVE, on Spotify now.
Interview by Amelia Vandergast
Keilene’s artistic journey is nothing short of extraordinary. From her roots in Rio Piedras, Puerto Rico, to her current status as a rising star, Keilene has continually pushed the envelope in music, dance, modelling, and acting. Her latest single ‘Lips’ is a culmination of her unique blend of cultural influences and creative passion. In this exclusive interview, she bares her inspirations, and exposes what ignites her unflinching passion for the arts. Prepare to explore the mind of a true creative powerhouse and discover what makes Keilene a force to be reckoned with in the industry.
Wow, where do I start?! Well, I was born at San Juan Municipal Hospital Rio Piedras, Puerto Rico. My mom is Taino-Puerto Rican and my biological father Afro-Puerto Rican, but my dad who raised me is Jamaican. I moved to Coral Springs, Florida when I was quite young, however, my culture is invariably embedded in me through family, food, and of course, music. Music has always been at the forefront of every moment in my life, whether it be on family holidays with us dancing bachata in the living room, or turning up the volume to Alicia Keys while we clean house on a Sunday morning. At every turn, I am fascinated by how music can put color in the air.
To others, it might seem overwhelming, but I see them all having the same common denominator, creating through expression. My motivation stems from my experiences of anxiety and depression during my adolescence, but throughout the years, I’ve learned to transmute those heavy emotions into divine inspiration as a result of the arts. Creating became a space for devotion.
That’s an easy answer. It’d have to be singing. I find myself reaching into the deepest depths of my soul and giving my all when my voice fills the room. It’s such a powerful feeling.
I love this question! At my core, I am sentimental. I become enchanted by tender emotions in matters of love. I wanted to write an ode for that special someone in their life and embrace what it means to feel that, given the soft jazz tones. This song I hold dearly to my heart.
Great question! First off, Beth is a phenomenal coach! Her teachings have brought confidence and vigor to my vocals like no other. She is a distinct means that has honed my instrument as well as the guide for me to navigate the music industry.
Being part of a great crew on set for Bloodline Killer allowed me the insight to see variations of me in the world of acting. It was such a fun experience diving into an all-ears and tenacious character like “Sergeant Keily”. Though acting is new territory for me, the opportunity to convey through diverse outlets has expanded the possibilities within my career.
Interesting question! I’ve come to realize I’m not the same me I was five years ago, or three months ago. Sure, my values and soul are the drivers of this vehicle, but I continue to amaze myself with how I unravel greater versions of who I am meant to be. That will be the fuel to my success.
This is beautiful. I’ve thought about this a lot. I aim to empower women to spark a flame within their spirits and realize the power they hold. Any opposition you face is a step towards your greatest achievements!
Stream Lips on Spotify now.
Discover more about Keilene via her official website.
Interview by Amelia Vandergast
In this interview, we dive into the dynamic journey of cye, an emerging artist with roots deeply entrenched in Pomona, California, and the vibrant culture of the Las Vegas Strip. From the hardships of the 2008 housing crisis to the pivotal moments like his photoshoot with Mike Tyson and joining Entourage, cye shares the experiences that have shaped his artistic persona. He also discusses the inspiration behind his breakout single, “NYC in the Backseat,” the creation of his debut album “The Keeper,” and his ambitious plans for THE IONIC WORLD TOUR.
It’s good to be back on the road piecing things together. Vegas is home to us. I’m set out to make it a point for people to understand what this city means to me. Real sh*t happened there… I grew up in Vegas during the 2008 housing crisis. We didn’t have a lot all the time, but I take pride in the fact that my momma worked hard to give us a good childhood. My momma is my everything. And Vegas built the whole understanding of my entertainment standards.
It was cool… Really changed my whole life… It’s family and love over here, for real, like, my cousin Matt has been in business with Tyson for a long time. And Uncle Meco has been taking me with him everywhere I need to be in Hollywood and D.C. We’re all close and spend a lot of time locked in on this sh*t now.
That was back in Hollywood, I think 2022… Working with these companies is cool and all but it’s more hands in the pot, really… I prefer to stay to myself but when certain steps are necessary then, so be it. I am not one of these artists that’s on a mission against the industry. That’s lame sh*t. Can I say that? There has been way too much of that “F- the record labels” talk over the last decade. As a young artist, you have to identify what you want for yourself and allow the space for others to move how they need to. All that negative sh*t is flat…
Actually, when I recorded that I hadn’t ever even been to New York City, yet. There was already a plan in place to produce and master the album in Brooklyn, though. I think Andrew [Krivonos] reached out to my manager, Mason, and set it up… Can’t remember exactly how it went. But I love NYC. It’s been dope as h*ll to see so many people, kids, grown women and all that vibe out to my sh*t. I’ve only performed the song a few times live and I’m real amped to see how they respond to it.
It was really just an introductory piece… We wanted to provide a solidified sound, no gimmicks, with a hefty production team behind it but it’s really not a debut album in the sense of what we are working on putting together, at this point. Our team is not naive in the understanding that we have a long way to go before y’all know who I am… Understand, we spent more than $100,000 to finish TK in its entirety… Independently released and funded by my label, Recovering Child Music. There’s a lot that TK cemented into reality for me. TK is a building block of RCM, and everything else that I’ve set out to craft in this sh*t.
It’s really as simple as it was… Like I said. Andrew and I work really well together. We were at an event at his studio in Los Angeles, before we did the album in Brooklyn, and we had a few drinks and talked about what my music can do, for real. I’ll always remember that. What we created together on TK is timeless sh*t that will always be noted as the music that started this whole thing.
Yeah, touring is a learning process for me and I’m enjoying that. I’ve really taken my time stepping into this new space I’m in… Moving with the utmost respect and discipline in my approach. I love what fans do for the music, man. They keep us honest. If they don’t like something, they will let you know. That makes my job easier and makes their days at these festivals worth it. There are artists that waste a lot of people’s time and I’m not into that. If you’re going to spend your money to get live at one of my shows and stand in the rain and sh*t… The least we can do is give you the best f*cking music you have ever heard in your life. I want people to leave with a memorable night behind them so they can go home and f*ck and sleep good. This sh*t one big therapy session, for real. I swear that’s what Recovering Child Music is meant to be… Therapy.
It’s marketing all over the world, really. I grew up in the city, that’s just how we move when you find yourself downtown. There are a lot of folks running these spots that hold down the whole culture of Hip-Hop and keep it rooted in something real. Otherwise, this sh*t would just be gimmicks re-uploaded over and over again. The people make the culture… And I stand by that. I’ve been in the streets with the people in every city we’ve been to build a connection, really.
I grew up going between Vegas and Los Angeles like once a month, it felt like. Especially as my brothers and I started to get older… So, Hollywood always had a grip on my soul, in a way, where I knew I had to get out there just to see… And New York City is way different. I never experienced anything in my life like getting to the city, man. It’s a whole other level of living out there and we got busy right away. Even though I’m a little less into the luxurious vibe, I feel NYC does it best. I lean into what I like, and experiment once I’m in the room. My favorite sh*t in my life is shrooms and late night Hollywood / Bev Hills, too, though. It’s a cool balance.
That came from my dad. I’ll end up telling this a million times but I showed this man “Cyclone” by Baby Bash and T-Pain, yeah? And while we were playing basketball and listening to the song, I put up a shot that circled around the rim a few times before going in… He said, “you put it down like a cyclone…” and called me cyclone for the rest of my fourth grade school year… 10 years later, it got shortened to cye and scribbled into my iTunes library… And I was crazy as h*ll as a kid so I always liked that name.
A lot has been scooped onto my plate over the last half-decade. I’ve got work that needs to be completed, right now. We’ll be in Africa next year… It’s crazy. I want to create something for the fans of this music, and maybe I have it figured out already. It’s a lot of awesome f*cking people out there, man. I’m going to get where we are meant to be in this sh*t… And I couldn’t do it without The Bullies.
Please, visit cyeforever.com to connect with cye.
Interview by Amelia Vandergast
In this interview, A&R Factory welcomes Cloud Ray, a Hip Hop and Pop artist from New Jersey, USA, known for his innovative blend of genres and energetic performances. Cloud Ray discusses his new track “Drip,” his musical influences, and how his sound has evolved over the years. From early inspirations like Usher and Nicki Minaj to performing at major festivals and embarking on international tours, Cloud Ray shares insights into his creative process, collaborations, and what fans can expect from his live shows.
Hello A&R Factory, thank you so much for welcoming me to your platform! I am a Hip Hop & Pop Artist from New Jersey, USA and I have been creating music as ‘Cloud Ray’ for the past 4 years now. Artists like The Black Eyed Peas, Usher, Nicki Minaj, Ludacris, and J. Cole who have inspired big changes in the music landscape and the music industry continue to inspire me.
My music definitely has hints of all the aforementioned artists but I try to always retain originality in what I do by breaking down genre barriers while still paying my respects to those who came before me. Growing up being surrounded by many different genres and styles of artistry, I was able to choose from a collective of my favorite genres and mash them together in a way that felt distinctive to me and who I am as an artist. My very first release, ‘Urban City Elegance’ garnered over 1 million streaming listeners and the music builds on that every day.
Some of the early influences that shaped my sound came from artists like Usher, Kanye West, and even Nicki Minaj. Hip Hop served as an outlet for me to express my feelings as well as a place for me to expand on my creativity. These artists always bring a unique sonic package that stamps many of their records as timeless hits. The Black Eyed Peas introduced me to a blend of Hip Hop, Pop, and EDM that really set a foundation in the music industry for my music to even be possible and accepted. I was always a fan of the way EDM music had a party vibe to it. I love when you can go somewhere and feel a collective uplift in energy and excitement. For me, I found that going to roller skating rinks, carnivals, amusement parks, and even nightclubs, where this music was often played, locked in core memories for me. As an artist, I knew that I wanted to give back the same feelings and experiences that both Hip Hop and Pop music have offered me throughout my life.
I have been truly blessed to see where my music could take me. In 2023, my music took me on a 4 month US tour to many of the major cities where people were listening to my songs. Most recently, I embarked on a new US tour that started in February 2024 to target cities I have previously been to as well as cities that I haven’t. I also ventured overseas for the first ever time in my career to Europe where I performed in multiple countries including France and England. I have made it to major award shows like the BET Awards and The Grammys as well as many festivals including A3C Festival, Rolling Loud, and SXSW.
This is a great question. My sound has evolved in such a way that makes me feel closer to finding freedom in whatever genre I do while my voice and approach are still identifiable as Cloud Ray. I think through new experiences and an ever-evolving soundscape, change is inevitable. With this freedom, I can always deliver something fresh and exciting. I am also able to explore my cultural roots as well as collaborate with other talented artists. Some of the key milestones that have defined me as an artist today come from my sound evolving. ‘Burn It Down’ turns the heat up for the summer while shining a light on my Caribbean roots whereas my latest single ‘We Need’ showcases the more vulnerable side of me that I don’t share that deeply too often.
The collaboration with Tati Dior came together when I was searching for the right female to put on the track. I remember my team suggesting that we pitch the song to her and when they reached out to her she responded that she loved the track and was all in. When I found out that she was going to be on the record, I was beyond excited. I knew that she would bring the level of professionalism, quality, enthusiasm and creative style to this record that only she could bring. This record was originally meant to be a part of ‘Urban City Elegance’ which was released in 2021 but it was eventually decided that it would be better as a standalone single. While that EP showcased songs about heartbreak and healing, ‘Drip’ was written about female empowerment and luxury living. In 2024, it’s such a great feeling to have this song finally be released with the best feature on it.
Yes! I will be performing in San Diego on June 21st and then Los Angeles on June 22nd. Currently I am on a US tour until November and more dates will be announced soon. More information regarding my upcoming shows can be found on Spotify, www.cloudraymusic.com/events or by searching ‘Cloud Ray’ on Songkick or Bandsintown. When you see a live Cloud Ray performance, you can expect a high energy, crowd participation moments, and connectivity. I typically have merchandise for sale at my shows and sometimes you might get a sneak peek into what’s next from me.
New content is always on the way and I am currently working on a few collaborations with some very talented artists! I am currently on tour with new dates and cities being announced soon. I have a major announcement in September that I cannot wait to share but you’ll have to stay tuned to find out what it is. You can find me on all socials @cloudraymusic so tap in with me!
A&R Factory, I want to thank you again for interviewing me today and giving me the opportunity to step into the spotlight of your world for a brief moment. I want to thank all the readers tuned in for your continued support and I look forward to the next time that I get to talk to you. Stay blessed, stay lit, and one love.
–
Discover more about Cloud Ray via his official website.
Interview by Amelia Vandergast
This week, ARCTISKY sat down with A&R Factory to discuss his latest single, “Unreal Love,” a narrative about the complexity of chemical romance and the importance of self-awareness in relationships. In this interview, ARCTISKY delves into his creative process, the instrumental choices that evoke euphoria, and the evolution of his music since his debut. He also shares insights into his journey from the Maldives to Melbourne, the influences behind his genre-fluid sound, and his ultimate artistic goals.
Thank you for having me! ‘Unreal Love’ happens to be a confusing tale about an intense romance being ignited while two people find love in a super-charged ‘situationship’. The message is like, “Make sure you both know there could be other factors driving the whole interaction.” It’s about being aware of yourself and taking time away from other influences before wasting anyone’s time.
This track is one of those tracks that stayed in the cocoon stage until I was ready skill-wise to bring it up to speed. Ever since my last release, I really took the time to come up with a sound that truly captures all of my core musical influences. With this one, I believe the live upright piano sounds did the final bit of work in bringing this song to the finish line. Initially, I had a very thin-sounding piano sound, which was fine when I was just writing other instrumentation around it, but it still didn’t give that fuller feel I was looking for. So, later on, I decided to record an upright piano with a pair of AKG c414s, with the help of a couple of my peers. That was the final ingredient to this sound I’d say.
I had written the synth parts years ago, in the early stages of the song, so those spacey-arpeggiator sounds at the back were another factor in capturing that euphoric feeling. I tried to stay true to the sounds that evoked euphoria in me as well. It’s still got that core element of rock & roll, but then those influences from other areas weave through. So this song evolved through quite a few stages to achieve the sounds I was after. I’d say it also had a lot to do with being surrounded by the right people who helped nurture my craft.
Well, the song is kind of like an unspoken conversation between you and that person you found some sort of crazy love with in the heat of a moment. It doesn’t have to be anyone specific either. It’s just one of those tracks that will help people come to terms with the fact that it’s better to let go by connecting to a song, rather than trying to reach out to an old flame. Never a good idea!
I think I realised I had a bit of work to do to bring my writing to something I was happy with. So, for me, it was more about going back to the sounds that felt most natural to me. That’s actually the main reason why I named this album ‘Roots Vol. 1’ – due to it paying homage to my musical heritage, being the classic rock & roll I grew up with. Unreal Love is the first track from this album and showcases this new sound I’ve been working with the best.
All the songs that will be on this album are what I call “journal songs” – they’re songs that hold more to the lyrical content, and have something listeners can take away and project onto their own experiences. It’s nothing more than a bit of art you may or may not be able to relate to. This stuff is written for the introverted side of people. I know I’ve heard those songs, where I listened to it and the music just helped me come to terms with things I had no idea was bugging me in the first place. Music does such a good job of healing people. I wanted to write some music that could help my audience shed light on some of the things they may be dealing with.
This new sound, with the foundation of rock & roll and the blend of fresh sub-genres, is what I got out of my creative break. This project just feels very fun for me! I’m not taking myself too seriously I’d say. I put a lot of trust into giving this another go, knowing I’m writing and releasing music that I loved writing and enjoy listening to.
I’ve been very lucky to learn and work with some extremely cool people since moving to Melbourne in 2019. I got here and realised I had neglected a lot of important theory, growing up as a drummer, so I had a lot to catch up on. I wanted to make sure I understood music to a certain level before trying to enter the live scene here. I’ve certainly had a bit of work to do to polish my craft before starting live gigs. Melbourne’s already got such a vibrant live music scene, so I want to make sure that what I’m bringing to the table here is going to be something a bit different and adds value. I needed to know that if I were to do live gigs, there were no loose ends in the songs. I want my live performances to bring a high level of energy to the venues here, and I needed time to develop my live-act. Live gigs are something I’ve really had to physically and mentally prepare myself for.
I grew up with brothers who loved rock music, so it was playing around the house most of the time as a kid. I always heard a lot of Bob Dylan, Santana, Bon Jovi, Bob Marley and all that. Then I discovered Pink Floyd around the age of 18. They have the kind of music that helps you open doors in the back of your mind. Around the time I started this project, I was listening to a lot of Bob Dylan and the ‘Exodus’ record by Bob Marley & the Wailers. They inspired me to get my own messages of love, peace and freedom out with my music – to the individual and to societies. Especially ever since the wars have become a lot more frequent on the news, I wanted to get my message out with these songs. It turned out that when I was writing these “journal songs”, I always wrote music that I felt reflected love, peace and togetherness – “Lead with love and respect,” being the core message. It’s come with trying to strike that chord which resonates with our innate instinct to come together, and to work together and learn from each other.
My ultimate goal as an artist is to bring my work and artistry to a stage where I can start collaborating with more artists, and to just keep writing and recording music I’m proud of. I want to have songs that my audience can listen to and connect deeply to. I feel like a lot of what I’m hoping to get out of this ‘Roots Vol. 1’ record is to find a true audience that I can take on a new musical journey away from my current sonic blend. Music is such a subjective experience just like any art form. I feel like creating the best art you can do with your abilities and putting it out there is necessary if you have a message that’s greater than what you want to achieve sound-wise. I feel like I’ve been fiddling around with this sound for a while now, but I’m happy knowing this blend was authentic to who I was throughout the writing and recording process. My goal is to story-tell and share some of my crazy experiences with my listeners so that they too can feel and experience those moments. I feel like all my music will have that unique element of ‘me’ in it.
My message is to stay true to yourself no matter what kind of inner demons you may be battling. If you’re still in the thick of that period of your life, I hope some of these tracks I’m putting out can lend a hand.
Listen to Unreal Love now on SoundCloud; find more ways to connect with ARCTISKY via his official website.
Interview by Amelia Vandergast
IST IST has always been more than just a name in the post-punk scene; they’re a force of raw authenticity and innovation; as they prepare to release their fourth LP, Light a Bigger Fire, and embark on their UK and European tour, the band is set to amplify their distinctive sound with their upcoming single, Repercussions.
In this exclusive interview, IST IST delves into the evolution of their music, the challenges of touring in a post-Brexit world, and the relentless DIY spirit that fuels their growing fandom. Join us as we explore how they balance their post-punk roots with electrifying originality, and get a glimpse into the creative process behind their most ambitious record yet.
It gives you a bit of everything from the album really. There are the big synth lines, guitar breaks, drums doing big fills and the vocal hooks are probably quite catchy. We road-tested it on the recent tour dates and it landed really well which doesn’t always happen with new songs that fans are unfamiliar but it was cool to see the way the audience reacted to it.
The core elements which define IST IST are the four of us so for as long as we’re making music together there’ll always be familiarity. Adam’s voice is always going to make us sound like us. We all have a way of playing and whilst that might evolve, it’s still our way of doing things.
With every record we try to reach for new things and set ourselves new challenges. This time our goal was to make a record with no stone left unturned. On our previous three records, we recorded them in something like 10 days because we were all working full-time and whilst we were never unhappy with the end results, after living with them for a while we realised there were some undercooked bits and we might have left a bit on the table. This time we spent months in pre-production, tracking, overdubbing and mixing.
We’ve ended up with a record that sounds like us, but we’ve had the time and resources to fully use the studio as a tool, to make our best set of songs sound as rich and exciting as they possibly can.
It was our first time working with a producer. In the past, we’ve always just gone in, set up and played the songs how we’d been playing them in the rehearsal room. This time we recorded the demos and gave them to Joe, he picked them apart with us and changed some arrangements and structures, added parts and created a different palette of sounds that we wouldn’t have immediately thought of.
That was the key this time; to have someone with fresh ears come in and bring things out of us that we didn’t even know were there. There were moments that moved us out of our comfort zone but that’s surely what you aspire to do as an artist. Joe has got kudos so whilst we might have been pushed into areas we wouldn’t have been before, that’s the reason we did this album with him, because we wanted that.
It’s always been a double-edged sword having the comparisons thrown at you. When someone says we sound like this band or that band, very rarely do they mean it a negative way so you take the compliment. Especially if it’s a band like Joy Division or New Order which have clearly inspired us. But there’s a difference between ‘influenced’ and ‘sounds like’. Over the years we’ve experimented with lots of different styles, and that’s kind of come from trying to outgrow those comparisons and just become your own thing. As time’s gone on we don’t really think about who we sound like, but what we sound like and whether we like it. If you’re excited by it and it comes across in the music and on stage, then that’s surely going to excite your audience too.
We only properly started touring Europe in 2022 so we’ve never known any different. Before post-Brexit regulations came into force we’d just played one-off shows in Berlin and Porto. Since we formally left the EU, artists, crew and equipment are treated as freight and everything you carry with you is subject to declarations and documentation which cost a lot of money to get. We’re just trying to go and play some shows, we’re not freight or haulage.
The flip side is that we’re at the point where the Netherlands is overtaking the ticket sales and streams in the UK so the fees we get from the big shows there prop up the rest of the tour. On top of everything though it’s just a really fun experience, to travel so far from home and there be big crowds of people who care enough about your music to turn up makes everything worth it.
The DIY thing is really what defines us, if not outwardly to fans it defines us to us, if that makes sense? It’s forced us to be patient but also persistent. It also means that we can make decisions quickly, even just being able to decide the design of record sleeves and make calls on music videos is a blessing. But we also don’t owe anyone anything. We haven’t got a label sending us the latest statement like student loan companies do, where you’re being told you’re still £50,000 unrecouped.
Maybe if things had been different and we’d been picked up by a label then we might have arrived at this point much quicker, but maybe having that pressure would have been problematic. Then again being under your own pressure to sell records, tickets and merchandise so you can afford to pay yourself is probably greater than any squeeze a label could put on you and we’re dealing with that pretty well right now. The reality is that we never really had an offer from any indie or major to consider though, so the DIY approach was a necessity. Our last album ‘Protagonists’ went to number 41 in the charts and it was funded and released entirely by us. Would it be nice if more people saw it for the genuine indie success it was? Yes. Does that really bother us and would we really change anything though? No.
Stream Repercussions on all major platforms, including Spotify, from June 14.
Visit the official IST IST website to purchase tickets from the upcoming UK & European tour and pre-order the Light a Bigger Fire LP, which is due for release on September 20.
Interview by Amelia Vandergast