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!
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In conversation with A&R Factory, Stuee Singh, the multifaceted artist behind the culturally rich single ‘Spiritual Sharabi’, unveils the layers of his creative universe. From intertwining his Sikh heritage with contemporary pop dance to embedding profound spirituality in mainstream music, Singh’s journey is a kaleidoscope of cultural, linguistic, and philosophical dimensions. His transition from a corporate titan to a music maestro is a tale of bold choices and authentic self-expression. This interview not only explores Singh’s multilingual prowess in English, Punjabi, Hindi, Danish, and Thai but also dives into his aspirations to infuse spirituality into hip-hop and pop. As we traverse through his experiences from Bangkok to Copenhagen, Singh shares insights on his upcoming projects and collaborations, promising a future rich with diverse musical explorations.
“Hi A&R Factory, honoured to be interviewed. Hello World. I’m Stuee Singh!
There are 3 creative inspirations for this song. the first is my cultural heritage, I wanted to make a song with a current vibe with Pop Dance and cultural elements. My second inspiration is my own story, being an international Sikh from a business background, I wanted to represent my culture in a cool way with intellectual and thought-provoking lyrics. My third inspiration is spirituality, I am spiritual and love to add a sprinkle of it to pop mainstream music.”
“Well I grew up hearing English, Hindi and Punjabi, So those 3 languages are very easy for me to think and rap in, Danish came later when I lived in Denmark for 6 years, and Thai I picked up by growing up in Thailand. I am curious by nature and enjoy discovering new cultures, I find it inherently easy to connect with people from all cultures and backgrounds.
So it’s easier than it seems to feel my lyrics and write and sing in these different languages. I’m also adding Spanish in my next release. :)”
“Spirituality for me is about self-discovery and being fully present in a moment, I think it helps me be calm, creative and wise. I love it.”
“It sure is! I’m quite proud of myself for taking this leap of faith and following my dreams and being my true self.
I think the turning point or should I say. The realisation point was on my 37th Birthday, I thought to myself, I’ll be turning 40 soon, it’s now or never. I’m not getting any younger so Carpe Diem!”
“Yes, so Pop and Hip Hop have had artists that sing about spirituality such as Pentatonix who high songs from the bible in a pop dance way, also MC Yogi who sings about uplifting topics. I am inspired by them and want to do a bit of that for my music with my own culture.”
“Copenhagen is a great city, friendly people who live a healthy lifestyle and celebrate diversity. I also worked for a Global Danish Biotech and did an MBA when I was there. So, this gives me more thought-provoking and knowledge themes in my lyrics, also my passion for excellence and attention to detail was brought out more by being in Denmark where people have similar values.”
“I think mainstream Pop and Hip Hop is missing me! haha 🙂
Well, I don’t know of many multi-lingual artists with a business background, that too with a Sikh cultural background.”
“I’m officially going to launch my first album this year! I’m super excited about it, also I have been selected to be a part of Rishi Rich’s mentorship program. He is an iconic music producer and in my teenage years inspired the world by bringing UK Punjabi music to the world with his hits and songs with Jay Sean. I’m very grateful and excited to be mentored by him and collaborate in the near future!”-
Stream Stuee Singh on Spotify and never miss a new release by following the spiritual visionary on Instagram.
Interview by Amelia Vandergast
In an evocative interview with A&R Factory, The Grunge Father delves into the soul-stirring depths of his debut album, ‘Demons‘, which unravels as a raw, introspective journey through the labyrinth of personal struggles and the relentless pursuit of clarity amidst life’s chaos.
With a nod to the gritty essence of Seattle’s grunge era, The Grunge Father weaves a tapestry of emotive narratives, each track a chapter in a larger story of battling and acknowledging one’s inner demons. His unique blend of melodic grunge, infused with introspective lyrics and acoustic warmth, offers a fresh perspective on the genre.
As he discusses the creative process, inspirations, and the cathartic experience of bringing ‘Demons’ to life, readers are invited to delve into a world where darkness is met with the resilience of the human spirit, a theme that resonates universally.
Thank you for having me. With ‘Demons’ I wanted to create a strong theme throughout the album which all tied together. The album is mostly about my own personal Demons and the life experiences I have had with them. I try to shine some light on the darkness and mazes of life and our constant search for clarity among the chaos.
I am aware that everyone has their own Demons and I hope they can relate in some way. I think anyone of age has gone through some kind of personal struggle with their inner Demons. Whether it be with addiction, low points, vices etc. There will be voices in your head which have conflicting views trying to pull you one way and then the other. The Demon is always there lurking in the shadows but you always have a choice in what to do? Will you give in to the Demon or fight it and battle through? This is how I see life. It is a constant fight against the creatures which live inside you.
I wrote the songs and put them on the album in that specific order to tell the story that I have personally been through and tried to cover all the different angles from which I see life. Although the album is quite dark, I do hope people can take a lot of positivity from it with the main theme being ‘acknowledge that your Demons are there and then do your best to slay them or keep them at bay.
Grunge music and the bands which came out of Seattle in the early ’90s had a rawness which instantly resonated with me from the age of 8. I was hooked instantly and listened to cassette tapes on repeat. I don’t know if it’s because I listened to Grunge music so much growing up but whenever I write songs where I am trying to express an emotion through the lyrics, the songs have a gungey vibe and that is completely unconscious. I was in metal bands for years and also have played and written a lot of Jazz and Blues music but I find Grunge is the best way to convey an emotion or tell a story.
I would like to say I take a unique approach to the genre while keeping the foundations as a baseline. Out of the big grunge bands, my music is definitely more in line with Nirvana and Silverchair than any of the other big Grunge bands. I don’t think I quite fit in with the ‘Post Grunge’ category that much, as I feel the bands which are labelled as this have more of a nu-metal sound.
Yes to refer back to your previous question this is hopefully where my own style cuts through. Especially on this unplugged album where I felt it needed more depth. My approach here was slightly different to other music I have written previously because your standard power chords don’t round out the sound enough and get lost in the mix. There are a lot of fuller and melodic chords used to fill the space where the distorted guitars would normally sit and the guitar picking parts are opened up to interact melodically with vocals.
I spent a bit of time writing the songs with no real set period and just waited until it all came together organically before going into the studio. As I write and play everything myself, it does take a bit of time because the last thing you want to do is rush it. When I finished recording all the parts I took about a month or so to let it sink in and see if there were any parts not working. I then went back into the studio to mix and master it. All in all, it took about a year.
This is my first unplugged/acoustic album to be released and that within itself is really rewarding to me. It was a challenge and a different recording process, but I feel the hard work has paid off. I am also glad that the story of the inner demons seems to have come through and resonated with people.
So for the next few weeks, I will continue to promote the album and my first single ‘Seesaw’ then it will be straight onto the next album which is written with guide tracks ready to go.
While I get things sorted for the next album, I will continue to record some grunge classics. These will go up on my YouTube and social media platforms. I will also start to document and film more behind-the-scenes footage from the writing and recording process.
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Stream Demons (Unplugged) on Spotify now.
Interview by Amelia Vandergast
This week, A&R Factory had the privilege of sitting down with Nick Cody, a maestro in the art of musical reinvention. We explored the intricate layers of his latest masterpiece, ‘Covering These Tracks Vol II‘. This album is a mosaic of musical exploration, blending classic hits with lesser-known treasures. Cody’s approach to this project was akin to a musical alchemist, transforming and transcending genres with a simple yet profound setup: a guitar, a violin, and the harmonious interplay of two distinct voices. As we delved deeper, Cody revealed the nuances of his creative process, the challenges of embodying other artists’ universes, and the exhilarating journey of bringing this ambitious project to life, both in the studio and on the stage.
Originally the plan was to create an EP with my Californian friends Towse and Corwin Zekley with Harry Orme from the UK. This EP idea became a mini album ‘Covering these tracks volume I” and we had so many ideas and magical moments, I decided to do a second album.
My rule of thumb was that we would only have two instruments, guitar, and violin and two vocals from Towse and myself. Covering these tracks volume II is even more ambitious than the first album.
As well as recording classics like Joni Mitchell’s “Case of you” and Nick Cave’s “Nobody’s baby now” I also chose some hidden gems like “Gold” from Peter Blegvad and “Name Hoppin” from Ray Wylie Hubbard, two fantastic songs that deserve to be heard. So, the creative spark was finding well known and hidden gems that have great melodies and sharp lyrics, transporting the listener to a new space of magic and fascination.
This project is more ambitious in that when you step into another artist’s universe when recording and that’s a very different experience than simply listening to their songs. A good example is one of the verses on Bruce Springsteen’s “Atlantic City” . This is where on the second line Bruce adds a huge number of words that all need to fit with the melody.
The first part – “Now I been looking for a job, but it’s hard to find” is simple enough, BUT the next line is –
Down here, it’s just winners and losers and “Don’t get caught on the wrong side of that line”.
This requires the singer to really focus in articulating every word and delivering it all in the same bar.
Bruce is mostly about telling stories and the lyrics are invaluable in every song with no waste. I first came across him with the brilliant Born to Run album and have been listening ever since.
With Joni Mitchell it’s a very different style, but also with killer lyrics including the following first verse of “Case of you
“Just before our love got lost you said,
“I am as constant as a northern star,”
And I said, “Constantly in the darkness,
Where’s that at?
If you want me, I’ll be in the bar.”
This project is about travelling to and inhabiting other artist’s universes in creating new versions of their songs. This is both equally fascinating and challenging. I’m really pleased with the final results and can’t wat to play these tracks live.
On this album, Harry Orme plays all the guitar parts. Harry is a truly gifted player and quite brilliant at 100% nailing the sound. If he were a chef, he’d have three Michelin stars, without doubt. Once I have the guitar parts, I’ll lay down my vocals. The mix then goes to Towse, and I will say “Do what you think works best, I trust your musical instincts”.
This is our third album, and this has always been my approach. Towse always knocks it out of the park and Carl Rosamond (my producer) and I love to receive those parts. It’s like Xmas day opening a great present when those files land.
Once we do the mix with towse, the file then goes to Corwin who has a unique sound unlike anyone else. Corwin and Towse are like creatures from another dimension and the result is to my ears pure magic. I played Jon Gomm a couple of the new tracks “Gold” and “Crashing and Burning” by Fred Eaglesmith and his response told me we really had something with this collaboration.
Leeds April 26th will be a special album launch with sets by Harry, Towse and Corwin as well as all of us playing together with other members of the expanded Heartache ensemble that include David Bowie Jnr on bass, Rich Ferdi on percussion, Jon Burr on Harmonica. I’ll also be doing a set with my Caravan of Dreams ensemble that includes the brilliant vocalist “Agi” who I have been working with for many years.
This new album is more challenging, so we are rehearsing hard to deliver the very best performance. At times there will be up to eight of us on stage, so that’s a lot of moving parts! We’ll be playing many of these tracks for the very first time, so are rehearsing hard in the forthcoming weeks.
My producer Carl calls this way of working “The Steely Dan model” where I surround myself with a tapestry of great musicians who can be brought in as and when needed on several projects. This fluid band line-up allows for a huge number of sonic possibilities and of course, I’m often working on a number of projects simultaneously.
Really excellent musicians are of course always busy and not sitting at home waiting for calls. I have a 12 – 18-month timeline for projects and I often choose songs and write with specific musicians in mind. With the Covering these tracks albums, I deliberately chose to work with three other musicians from the core group and the results have been so good, we’ve kept going with releasing a second album as well as more material “in the vault” for future release.
Rich Ferdi and Dave Bowie Jnr are my live ensemble choices for bass and percussion and of course, I’ve been working with these guys for years, so the dynamic works well. On the April 26 launch at times all eight of us will be playing live, so it’s going to be one of those “I was there!” nights I’m always on the lookout for exceptional talent to add to the growing ensemble and recently joined a choir as a side project where I’ve already spotted some gifted artists…
I’m choosing to only play very specific live dates these days and after the album launch, the Osaka date will be with my good friend Brian Cullen. Brian is an excellent mandolin and guitar player as well as a great vocalist. My experience is that most audiences love something that is performed really well and engages them both musically and lyrically. This is universally true regardless of whether I’m in New York, or at The Lagoa Guitar Festival in Portugal.
The Lagoa Guitar Festival main stage in Portugal was only my third-ever live performance back in 2016, a baptism of fire, equally (at the time) terrifying and inspiring! Since then, I have had a lot more experience and doing support for artists like Jon Gomm and Martin Simpson has really helped me develop my skills when playing live.
Carl Rosamond is like my “George Martin”, the hub of the sonic wheel in all my projects. We’ve worked together now for many years, and I’ve always had a policy of sitting in with him throughout the whole mixing and mastering process. He’s massively in demand, so I block book studio time for projects, and we’ve always got something on the go. We also work in a very relaxed manner and since COVID I’m doing all my vocal parts in my own studio with the excellent Austrian Audio mics. The Covering These Tracks project is the most stripped-down work I have done to date, with two instruments and two vocals, but it’s a huge sound. The press feedback increasingly highlights just how great the production is and of course that helps massively with radio plays.
We have our recording ritual where we start at 10 am on a weekday. We have all the raw tracks ready to be mixed and I turn up with vegetarian sushi made that day by my wife Sue, for the session. We then go to work and the rule of thumb is that we’ll work straight through until 6 pm to mix a track. I estimate we’ve worked on around 80 – 90 tracks to date and I’m proud of what we’ve achieved.
The live setting is unlike any other experience. I spend a lot of time designing a set to make sure like a movie, there’s a beginning, middle and conclusion. I really like to stretch out and improvise with some songs and am reminded of the many years when I saw The Allman Brothers at the Beacon Theatre in New York. They would invite special guests and have great sections of improvisation in songs that are sonically pure magic.
I’m interested in creating the same dynamic and when you have access to artists of the calibre of Corwin, Towse, Laurent Zeller from France, Michael Ross from Nashville, and Jon Burr, live performances can be pure magic. Some of my original tracks like “Slow News Day” and “Perfect Place” are great for showcasing fantastic improvisational passages and letting these great artists really go for it!
For the first time involved in a choir project and have become absolutely fascinated by the experience. It’s a totally different way of working, essentially ‘an orchestra of 60 voices”.
I’m pondering a cover single release using a choir for 2025. This is extremely ambitious, but I can already hear how this would work on one of the tracks I already have “in the vault”.
The plan is for a third “Covering These Tracks” album, but this will be with an expanded ensemble and there’s no rush to complete this, I’m taking my time. As well as all this I’m finalising the second electric Nick Cody & The Heartache album, “This is Love and Heartache”.
One thing is certain, there’s a lot more music in the pipeline and we’ll as always be pushing the boundaries of what we are creating.
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Stream Covering These Tracks Vol II from April 19th on Bandcamp.
Interview by Amelia Vandergast
Today, we’re thrilled to welcome Lucy Wroe to A&R Factory, a paragon of authenticity in London’s indie music scene. As we sit down amidst the anticipation of her latest single, “Heartbeat Wipers,” set to grace our ears on April 5th, Lucy offers us a glimpse into the emotional odyssey that shaped this deeply personal track. From the lingering echoes of a past relationship to the artistic metamorphosis it spurred, join us as we delve into the heart of Lucy’s musical journey, exploring the intricate layers of her latest creation and the ripples she aims to create in the music industry.
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Thanks for chatting to me about my upcoming single! Heartbeat Wipers is definitely the most emotional song I’ve written. It’s really about having to move on from someone and feeling the empty space that is left behind. It’s partly coming to terms with that loss but also accepting that you’ll always carry a part of them with you. Some of the verse lyrics are more specifically about that person still existing in your life but in a different way, and having to resist that weak spot of returning to them; ‘You are the water seeping through the cracks, the wolf watching the door’.
Yes I have put a lot of myself in this one, it’s about a long-term relationship that ended last year. The person in question is also a long-time collaborator of mine who I still work with now. It was a very strange time because we agreed we needed to move on to separate spaces, but equally knew we needed to continue working together. So we’ve been muddling our way through this shift in our relationship and working out how to make music together while living separate lives. In a way, having to carry on working with them made me swallow a lot of the grief I felt in this period, so when I started writing ‘Heartbeat Wipers’ it was a real outlet of all this pent-up sadness, confusion, loss and frustration.
This was the big lyric for me, when I came out with it I realised how affected I had actually been by this relationship ending. It’s the statement that encapsulates the whole meaning of the song; feeling like an essential part of you has been taken away, but having to see them every day and maintain peace between you. Of course this was a decision we made, because I didn’t want to lose our friendship or working relationship. But working alongside them, then walking away, feels like leaving each other over and over again. Like the ending is repeated and the feeling of loss is fresh each time.
I hope this song can act as a catharsis for anyone out there who has experienced this loss, although it’s quite a rare situation haha! But it can also relate to any feelings of loneliness and change; I always feel it’s good to confront these things and get it all out (sometimes everyone needs a good cry). I actually have a playlist called ‘Have a good cry, go on’, because I have a bad habit of bottling things up and pushing on, until I feel it all coming to the forefront. The songs on there definitely help me get it all out, so maybe Heartbeat Wipers can become an official part of everyone’s ‘have a good cry, go on’ playlists! Who knows you might just feel totally refreshed.
Mm I love to change things up. This song is the first I will release with Philipp Koerver, who I have played alongside since 2018 but never properly written with, so the style is quite different. My previous releases have gone from folky acoustic stuff with my first single and EP, to the smoother jazzy EP ‘Same World’, to punchy produced pop with ‘Better’ and more lofi-pop with my recent EP ‘WAVES’. ‘Heartbeat Wipers’ is almost a combination of all these influences, with some very lofi/indie production styles and samples partnered with those chill indie instrumental foundations. Creatively I feel I’ve definitely evolved a lot with production and structure; I love how this song develops, it’s so dynamic but also really tender and there’s a lot of detail throughout. I’ve become much less formulaic with my songwriting over time as I’m actively embracing that natural flow of creativity these days and thinking less about what’s popular.
There’s so much to say here I’d love to do a whole interview just on the production elements!! So I was in the back of an Uber one evening near Dalston, stuck in traffic in torrential rain. All I could hear was the heavy rain on the roof, and rhythmic windscreen wipers which I captured in a voice-note, threw into a session and played an acoustic guitar riff over. I wrote the first two verses straight away and took this to Philipp (co-writer and producer), as I knew this track would suit his production style really well. We spent a few months working into the evenings at his flat and in the studio, building on my demo starting with the original guitar line which quickly changed into a synth. Each section has these layers which come and go and they’re all so unique to the moment. Like the end of the second verse with that growing bass and synth-wash; that was inspired by a moment in ‘And Dream of Sheep’ by Kate Bush. Also in the third verse with the fleeting reverb tail on the vocals or the dancing guitar patterns that enter halfway through. The whole end section with the building vocal layers was re-structured about three times because it never had the impact it needed. In the end, we scrapped it entirely and started from the most basic layers, then began weaving together vocal lines until it grew to the highest point we could get it. One of the most inspired details we added right at the end is the B in the bass that steps up the big ending, it hits such a lamenting note there and it always gives me that swelling feeling in my chest, it really made the whole end section work.
Yes! So excited to release this video. It was filmed at GOOT studios in Dalston, really close to where I captured the wipers sample last year. Max, who runs GOOT, is an amazing videographer who I met last year and knew I’d love to work with on this project. The concept was to create a vision of what it’s like in my head, to capture a real sense of isolation and melancholy. Each main shot shows me in a static pose under a hazy blue light, and gradually zooms in over the course of the video, ending on an extreme close-up of my face for the final line. I wanted it to reflect the gradual build-up of the song, so as the shots zoom in, the edits also get quicker. Only one of the shots shows me singing and that is direct to the camera, as we wanted it to feel more like the viewer is seeing a private moment in my head, with one shot voicing my thoughts. It represents more of a feeling and a moment in time rather than a narrative. The blue light was essential to get the feeling across too, so it’s very dark and focused, as I imagined it would be inside my head at the time I was feeling all these things.
Absolutely, I’ve come to realise that when you first join a music scene, especially in London, it’s easy to get dragged into the ethos of ‘take every gig, listen to everyone’s advice, do everything because you never know’. But in truth, that’s an environment tailored to those who act as ‘gatekeepers’ and hold their status by making you think you’re at their will. Especially as a woman in the industry, it’s easy to go along with things and feel you have to endure them just for a potential breakthrough. I want to be an advocate for inclusive spaces, and for spaces that allow autonomy for independent musicians. Fair pay is a massive topic; exposure is not payment, and some promoters have just become booking agents, pushing all the actual promotion onto the artist. Social media can be a great thing, but I want it to be an additional tool, not the core of a musician’s life. It just feels like there is a chasm forming between the top 5% and everyone else, which is dangerous for artists in my position. I especially want to see streaming platforms value every stream equally, so if there are artists who have worked hard to grow a regular listenership, they will get the payment they deserve even if the algorithm doesn’t catapult them onto ‘New Music Friday’. Independent blogs, just like this one, and sites like Bandcamp, represent the industry that I want to support. They help you build a real, lasting community, and give you the encouragement and support you need to carry on making music.
Always! I’ve been working with my good friend and producer Tom B on a couple of new things – both very different! The next release we are planning is a world away from ‘Heartbeat Wipers’; it’s actually fuelled by my anger about the modern music industry haha. It’s inspired by more electronic and experimental artists like Sophie, Charli XCX and Caroline Polachek. It’s wildly dynamic and uses a lot of vocal effects and processed samples, so that should be a fun release! We are also finishing a chill, dream-pop style song, more reminiscent of Wave ‘22. And then who knows! Hopefully a lot of exciting visuals, some gigs and summer festivals. But for now, Heartbeat Wipers is occupying my entire existence. I’m so excited to get it out there and I hope it reaches new people who can love it as much as I do…
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Stream Heartbeat Wipers on all major platforms from April 5th.
Follow Lucy Wroe on Instagram and Facebook.
Interview by Amelia Vandergast
Few stoner rock bands stitch a tapestry as rich and enigmatic as Master Splinter. Our latest tête-à-tête with these fantasyweavers delves into the meta realms they inhabit. We uncovered the layers of their latest single, “Ronin”, set to captivate audiences on the 1st of March.
This seminal release is a portal into the band’s soul, offering a glimpse into their unique blend of head-pounding instrumentation and fantastical storytelling. “Ronin” stands as a testament to their evolution, infusing personal experiences with a newfound vulnerability, setting it apart from their previous work while still packing their signature style of furore and fervour. The interview touches on themes ranging from the creative genesis of their songs to the emotional odysseys they embark upon, painting a vivid picture of why “Ronin” is an unmissable addition to the stoner rock universe.
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Mick: Cheers for the opportunity to talk, and for your succinct and dead-on-accurate reviews of our work thus far! With this next single, our fans can expect the same head-pounding instrumentation and fantastical storytelling that they’ve become familiar with. But the difference with Ronin is a noticeable increase in dynamic, both in sound and emotion. Ronin is firmly connected to personal experiences, so expect a bit more vulnerability compared to our previous releases.
Mick: That’s actually a pretty complicated story, but I’ll attempt to give a cliffnotes version. I wrote the music, and some vaguely similar lyrics in 2017 while living in Shenzhen, China. I have a good friend, a very talented vocalist and lyricist out of the UK called Rhythmical Thinker, and we first began working together as a songwriting team around that time in Shenzhen. He’s responsible for a percentage of the song’s overall theme and aesthetic, but the original incarnation of this song bears little resemblance to what it has become with Master Splinter. The way that I see it, the song’s skeleton was constructed back in 2017 by me and RT, and the ensuing years of experiences I had were the flesh and blood added to it later. It’s almost as though the song knew what it was before I did, before I could have known what it was, because the things that the song came to represent to me had yet to happen. So, I guess you could say this song was built slowly over time, layer by layer, with periods of dormancy in between.
Mick: Well, you may be among the most familiar with our predilection for hyperbole and fanciful whimsy. We are big nerds, and we also enjoy experimenting with different ways of communicating things. What this song came to represent was a story of prolonged struggle, characterized by a terrifying level of uncertainty. My personal experiences that this story metaphorically attempts to parallel were as intense as they were because I spent a significant amount of time in limbo, waiting for a terrible thing that I knew would happen, but had no idea when or how severe it would be, and also did not know what life would look like for me after these things finally played out. Once they did, my whole existence was turned upside down, I was thoroughly traumatized by all of it, and my coping mechanism was to involuntarily become a walking callus for about 2 years. I knew I had things to confront, but I had absolutely no idea how to begin that process, and so I didn’t. Until I recorded this song.
Schauer: I’m just as emotionally fucked as I’ve always been but playing this song is gives me a chance to forget all that and just be in the moment. As far as growth goes I think I’m up 20lbs.
Mick: Honestly, I didn’t really know the meaning of cathartic until this song took form. When it found its feet and I knew what it was, the walking callus that I spent the last 2 years living as became an open wound, and I obsessively listened to the song on repeat and had one emotional breakdown after another for around 4 months straight. At the end of all that, I felt like myself again and leveled up every single part of my being in ways I never thought possible. This isn’t just a song to me, it’s an extension of my soul.
Schauer: I love the idea of using sound waves to fuck with people’s brain chemistry. The physics and biology behind it are fascinating and playing an instrument is like having a cheat code. You all are lucky I don’t have a compelling back story, some facial scars and an ambiguous sense of morality.
Mick: I think it fits in neatly with our other releases from a stylistic perspective. I’d like to think that Master Splinter is pretty eclectic, and our listeners have picked up on that they should “expect the unexpected” with us. The main consistency with us is that whatever we put out there is authentic. It’s a blessing to have a bandmate and co-leader like Schauer, because the authenticity that rings out of our songs, whether they’re collaboratively written or not, becomes a single, identifiable vibe. I don’t worry about whether or not any new song presented is keeping to any specific formula. We’ve been charmed in that way. He can write anything he wants, and I can write anything that comes to mind, and so far it always sounds like Master Splinter.
Schauer: it fits because it’s honest and we like it. Once those two parameters are met, we put in the work and then after it’s been vetted, out into the ether it goes. Preferably like an astronaut’s ass strapped to a SaturnV rocket.
This song in particular though takes its time to build a world and a narrative where the listener becomes the protagonist in the story. I expect at some point to be walking down the street and see a listener acting out the story with zero fucks given to the nervous looks from bystanders. Don’t let me down people.
Mick: Nah, not nervous at all. I’m stoked for it to finally be out there. That is probably due to the fact that I spent 10 months mixing, re-mixing, re-recording and re-doing every little tiny thing in this song a million times before it finally sounded right.
Schauer: anyone who doesn’t like this song will either enjoy or not enjoy our other songs. And to those people I say “Hello!”
Seriously though we stand with our work. We have zero incentive to write for anyone but ourselves. Writing for the likes, views and comments only undermines the whole point of making music in the first place, which is to make a good and lasting connection with the listener.
Mick: The vibe of Master Splinter is a celebration of the sonic landscapes that are created with heavy music and an invitation to anyone feeling hesitant about heavy music to join the stupid fuckin party. Heavy metal and hard rock is a very versatile little corner of popular music. To me, I’ve always been so drawn to how it can blend aggression and humor so seamlessly that they almost become one thing. That’s what we’re doing. We’re trying to make sounds that can only be described as “badass” and “hilarious”. Maybe a few other words can be thrown in sometimes, but those 2 words are the matter that makes up the majority of our universe.
Schauer: Our vibe fuckin’ rocks dude. We’re excited to be doing it, and if you feed on that kind of energy we’ll unload an all you can eat buffet into your skull
Mick: Of course I’d love to see Ronin get into as many ears as possible. I’ll be doing my usual promotional efforts, maybe in a slightly elevated manner since this song is my “baby”. But really, the song has already changed my life in ways that I probably don’t fully understand as of now, and I’m just very happy that it exists and that soon others can hear it. I hope some people can dig through the layers of metaphors and find something they can relate to. I think some people will. Maybe it can help them in some way.
Schauer: Pay off the house, do music full time and roll into your town (yes you 😉 with a big fucking truck, loaded with big ass Amplifiers.
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Stream Master Splinter’s latest single, Ronin (Cross the Sea) on Spotify from March 1st.
Interview by Amelia Vandergast
Dive into the musical mind of Matt Camillo, where the echoes of Americana Folk-Rock blend with bitter-sweet indie melancholy. From the romantic balladry of his latest single ‘Stop to Look Around’ to his explorations across Funk, Jazz, and Post-Punk, Camillo’s narrative is as diverse as it is profound.
Discover the inspirations behind his debut EP, his evolution from a MIDI-tinkering teenager to a multifaceted musician, and his aspirations to impact the music world.
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“It was the last song I wrote for my debut EP. It was written very quickly with the intention of writing a romantic ballad, but it turned into this Americana Folk-Rock thing or something Jewel could have written, though I got told several times that it sounds like Oasis for some reason.
This song is basically about doing the best with what you’ve got here and now, but once it’s out in the world it’s not up to me anymore to attach a meaning. The listeners can literally do whatever they want with it.”
“I wouldn’t use it to describe who I am musically, but I feel like it’s a good representation of my Folk-y side. The songs I’m working on right now span from Funk to Jazz to Post-Punk even though I’m still working hard to make these different styles match together when it comes to an EP or Album.”
“I started at 13 years old just writing instrumentals with MIDI in my bedroom. Then the guitar and the piano entered the scene, and eventually I found my voice (literally!). It’s always a discovery, this music thing. Every time I feel like I’m comfortable with a certain style or approach then I tend to move to new territory, but I always feel I’m still proving something to that kid in the bedroom.”
“Doesn’t matter how hard I try to find that sound, I’ll never catch it. I’m more focused on what’s naturally gonna come out of my failed attempts. And that should be good enough, I guess.”
“The first Coldplay record (and the first one I ever owned) changed my life and helped me to bring out that same bittersweetness I’ve always felt as a kid. More recently I fell in love with ‘Live At Montreux, 1976’ by Nina Simone. She represents everything that an artist should be. Farless, honest and passionate. But she managed to be even more than that. So, I’d say ‘Trouble’ by Coldplay and ‘I Wish I Knew How It Would Feel To Be Free’ by Nina Simone.”
“Right now I’m doing early attempts at my first album. Just experimenting and combining different worlds together until I feel something is moving. I’m taking my time. I’m giving way more space to the electric guitar, arrangements and production. Also messing around with my lower vocal range. It’s gonna be way different from what I already released, to say it short.”
“I just want my music to help people connect more with reality and with who they really are or at least to offer them a new point of view. Real music is so much more powerful than any other medium and that’s why the state of this industry is in such conditions. Maybe I wanna prove that it can still free us or maybe I just wanna have my own fun. Music won’t stop tho.”
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Stream Matt Camillo’s latest single, Stop to Look Around, on Spotify.
Interview by Amelia Vandergast
In an illuminating conversation with Ana & Gene, the dynamic duo behind the chart-topping hit ‘Narcissistic You’, we delve into the serendipitous beginnings of their partnership, born amidst the solitude of the pandemic and fostered through a shared passion for music and film.
Their journey is a testament to the power of collaboration, where spontaneous creativity and mutual respect for each other’s artistry have led to the birth of sensational tracks. As they discuss the genesis of their unique sound, a blend of retro and modern power pop, and their perspective on the evolving digital landscape of the music industry in 2024, Ana & Gene offer a glimpse into their creative process and future endeavours.
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“The COVID-19 pandemic brought us together and we found each other over Facebook. We started talking about both our careers in the entertainment world of music and film. We found out that we had so much in common and we appreciated each other’s talents. Then we decided to get together and become a new hit duo sensation to wow the world.”
“The fact that we just flow so well together while we are creating. A good example is when Gene started to warm up to play one of our new songs “More Than My Best Friend”. He stumbled upon some beautiful chords, then I jumped out of my chair and leaned in towards him while he was playing and I started to sing Uh-Oh Who Do You Love. So that is how our other song was born.”
“The key to the success of Narcissistic You comes from the unique way Ana wrote the lyrics and hooks. She wanted the song to portray as much realism as possible. Also, the way I played the rhythm helped construct the melody, it brought the song completely together. But also, our Recording Engineer Joe Bonadonna and our other musicians called “The Scene” including Buddy Woods (Lead Guitar), Michael O’Connor (Bass Guitar), and Rob Lela (Drums), helped and contributed to making the song what it is today.”
“Well, I always loved pop rock, pop punk, and rock music, artists like Green Day and All Time Low. I always wanted to create my own unique pop rock/pop punk rock music. So, I explained to Gene what I wanted and then he helped give me his rhythmic flair.”
“We believe that it is a digital land of opportunity as it currently stands for 2024. Today’s music Industry isn’t like how it used to be. But everything is always evolving, and the best bet is to always go with the flow.”
“Right now we are in the process of making a new single called “Giving You Love”. It is a unique blend of Tropical, Pop and Country music. Just so everyone knows, Gene and I like to create a vast variety of Genres for our fans to enjoy. Aside from this new single, we are also working on a new EP. And very shortly, we will be playing with our band The Scene at venues near you.”
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Stream Ana & Gene’s EP, Uh-Oh Who Do You Love on Spotify.
Interview by Amelia Vandergast
In this enlightening interview with A&R Factory, artist KASIA opened up about her latest single, “Heartstrings,” and its deep-rooted connection to her spiritual journey in music. She reveals how her songs, emerging from personal struggles, have become a sanctuary for healing, with a special focus on the transformative power of specific musical frequencies.
The interview promises an intimate glimpse into her artistic evolution and the profound impact of her music on both personal growth and the collective human experience.
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“The inspiration behind my latest single and music video, “Heartstrings,” comes from personal experiences, as most of my songs do. The lyrics were born out of a pretty bad relationship, where I found myself struggling with difficult emotions. Throughout my life, music has served as my safe place, providing a certain protection from harsh realities. In many ways, music has been my reality, offering a means of expression and understanding in the face of adversity.”
“Music has played a huge role in my healing journey, serving as a powerful form of catharsis and expression. It’s difficult to fully articulate the transformative effect that music has had on me. There’s a certain magic that occurs when you listen to music in specific frequencies. While most modern music is tuned to 440 Hz, which can sometimes evoke a sense of melancholy, I’ve found that music tuned to 432 Hz resonates more harmoniously with the energy of the Earth. Many older pieces of music were tuned to this frequency, and I tend to use it for my own work, including tuning my healing instruments to 432 Hz.
The impact of music extends beyond mere sound waves; it can deeply affect us on physical, emotional, and spiritual levels. For me, creating and listening to music in these frequencies has been a source of profound healing and growth. As an artist, I feel a responsibility to not only share my personal journey through lyrics and music but also to be vulnerable and real with people – hopefully to the effect of empowering my listeners.”
“Creating a spiritual and energizing journey through my music is paramount to me. I focus on making empowering lyrics that resonate with listeners on a deeper level. I integrate the ethereal tones of sound bowls into my electronic productions using Ableton. My creative process is deeply intertwined with meditation and spending time in nature, where I find wisdom and inspiration. Through the practice of gnosis, a process of inner exploration and connection with our higher selves and nature, I tap into somewhat hidden creative expression. I want to authentically express myself while offering something meaningful to others on their individual paths. I believe that music serves as a conduit to higher states of consciousness and my goal is to channel that energy and share it with my audience.”
“My musical journey has been a fusion of diverse influences. Growing up, I was drawn to pop icons like The Spice Girls and Britney Spears, followed by a deep dive into hip-hop with artists such as Biggie, Tupac, WestSide Connection, Naz, and J Cole during my high school years. As I matured, I became more drawn towards house music. It was during this phase that I connected with the producer of Fan Death, SZAM, who invited me to step in as the lead singer, replacing Dandi Wind. Fan Death’s synth-pop style marked a pivotal moment in my musical evolution.
The more I got to know Vancouver’s music scene, I discovered a blend of techno and house influences. Although I wasn’t initially drawn to techno, I found my niche in Bass House, a genre that merges elements of house, pop, and rap. My journey is driven by a genuine love for music and a desire to create something uniquely mine. Recently, I’ve been particularly drawn to the lyrical style of Caroline Polachek.”
“While “Heartstrings” serves as a starting point, it’s just a glimpse of what’s to come with my debut album. I see it as an opportunity to test the waters, to gauge reactions to both my music and the visuals I create. Part of me is inclined to wait until there’s a readiness from the audience, while another part recognizes that significant change often arises from bold actions, regardless of initial readiness. As Theodore Roosevelt aptly said, ‘It’s not the critic who counts.’ So, while “Heartstrings” sets the tone, my debut album will delve deeper into a range of themes, exploring aspects of personal growth, resilience, and the human/spiritual experience.”
“The transition from being the lead singer of a synth-pop band to stepping into the role of a music producer has profoundly shaped my artistic trajectory. Fan Death was my first experience writing and recording professional music. I learnt what a DAW was and how to use it! Fan Death truly served as a pivotal chapter in my musical evolution.
Despite the stylistic differences between synth-pop and my current direction, I owe a great deal to SZAM, the creator and producer of Fan Death. The band imparted invaluable knowledge and skills. Looking back, Fan Death was ahead of its time, and I often reflect on the synchronicities and patterns that have guided my journey towards future endeavors.”
“Thank you for the question! It’s a tough call because I genuinely love both aspects. On one hand, there’s nothing quite like the energy of performing live and connecting with fans face-to-face. Witnessing firsthand the impact my music has on them is truly special. But then, there’s also something incredibly fulfilling about being in my element – in the studio, wearing my glasses and hoodie, lost in the creative process of making music. I find joy in every aspect of my artistry, including dreaming up music videos and bringing my vision to life through visuals.”
“Just being around other artists pursuing similar goals is such an amazing experience. The most profound insight I’ve gained revolves around the power of community within the music industry. Coming from a small town where artistic pursuits were rare, I often felt isolated in my passion for music. However, being surrounded by other artists who share similar aspirations has been so refreshing. The opportunity to connect with full-time artists who understand the language of creativity has been incredibly inspiring. It’s a reminder that I’m not alone in this journey and that there’s this supportive community, rallying behind each other’s artistic pursuits.”
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Stream KASIA’s latest music video on YouTube now.
Interview by Amelia Vandergast
In an insightful interview with A&R Factory, Phil Coomer delved into the creative process behind his latest single, “All the Medicine I Need.” The song, born from a personal moment of realisation, transcends into a universal anthem about love’s healing power. Coomer shares how an injury and his girlfriend’s return sparked the song’s conception, highlighting love as the ultimate panacea. The interview also touches on influences like John Prine, the joy of songwriting, and themes in his upcoming album, offering a glimpse into Coomer’s artistic journey and the profound impact of relationships in his music.
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“I tend to write about how I feel or how others feel and All The Medicine I Need does not vary from that methodology. Because I had done a good job of injuring my left arm in the fall of 2023, I was looking for some kind of medicine that would help relieve the pain I was having in my arm. I wasn’t having much luck but about that time my girlfriend came home from an extended trip abroad. Her attention and caring made me forget all about the pain I was having. I realized that she was all the medicine I needed. When I was working on songs again, I thought that because I felt that way maybe others did too. So, I started working on the song and it turned into being about the normal day in a regular person’s life and the restoration that tends to come when we are with our person our significant other.”
“Very quickly I realized that I could easily change the song from being about her and me to being for everyone. The song is about any healing or restorative relationship. He-her, her-her, him-him, parent-child, child-parent it always works no matter who sings to who. It was as simple as changing “the girl” to “the one.” I did talk to her about the change, and she said I should definitely change the lyrics so the song could speak to everyone’s feelings. But she knows it’s her song.”
“Yes, and I wish I could have epiphanies more often. I said earlier that I usually write about my feelings or the feelings of others. I don’t know why I’m wired that way. Maybe others are too. I was working on a song from a recent trip to NYC to the World Trade Center Memorial and to Strawberry Fields in Central Park the John Lennon Memorial and was just getting nowhere I was writing junk. Finally, I decided to write from the perspective of a woman who had lost someone and to let her tell the story and It just flew out my mouth and onto the paper. It became, easy and natural yet different, wicked and soulful. That song is called “Still Lives.”
“Yes, I think so. Musically to me it is very akin to a John Prine song in simplicity and matter of fact-ness. There’s even a little Prine humor in the 1st verse line “and I guess elevators too”
“There is always some euphoria when you’ve framed in a new song and think it’s complete enough to play for someone else. But I think a few months out when you’ve played the song in front of hundreds of people and it’s actually now part of you and there some sustained affection for the song that’s pretty nice too.”
“I’d say that I moved more from writing the ballad or story of what occurred to the feeling or the impact the notion had on who is there or who found out and what it did to them. It seems more endearing to me to show the effect of impact to us.”
“All The Medicine I Need is the first recording of the next project and a couple of the other songs are “Kissing Lessons” – written after seeing a bulletin board ad I came across at college. Another song is called “Different Ride” which is what occurred to me when I’ve come across people who are still alive yet their fate is already written.”
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Watch the official music video for Phil Coomer’s latest single, All the Medicine I Need, on YouTube.
Interview by Amelia Vandergast
Born in southern Maryland and now based in Texas, Tyler Cricchi, known as I AM Cricchi, presents a compelling narrative in the music world. His journey, transitioning from a typical suburban childhood to grappling with substance abuse in his teenage years, underscores the stark realities that shape his music.
With his vast, eclectic and always raw discography, Cricchi has independently charted multiple times, showcasing his ability to blend genres from hip-hop to country. His music is characterised by its authentic lyrics and versatile delivery, resonating with a wide audience. In this interview with A&R Factory, we delve into the world of I AM Cricchi, exploring his journey from personal struggles to musical achievements.
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“Weighted To Breathe was written at a time when I wasn’t sure if I was doing the right thing chasing my dream in music, most regular people usually call it or consider a dream as such, ‘crazy’. The purpose behind this record was to remind myself and anyone else in a similar spot that if we waited or chose to give up, we’d be right back where we were, at a place where most wouldn’t want to be. Some might say at rock bottom. It quickly became one of the biggest solo songs of my career and shortly after I was blessed with the opportunity of having Caskey feature on it. That really proved my point and made everything come full circle because an artist with a much bigger influence and resume thought it was as dope as I did! NEVER GIVE UP!!”
“Addiction is a topic I hold close to my heart. I personally have been through the depths of hell while abusing drugs and running through the streets. This was my first project with The Lotto Tribe, and I wanted to make sure it was very special because I recognized that they believed in me, similar to the way I believe in myself. I reached out to a hometown producer Tilli Mack and told him I needed something to spill my pain on and thus this record was birthed. The writing aspect of it for me was just a matter of putting myself in the mindset of not ever wanting to go back to my old life. That’s why I’m so inspired after breaking away from it because I never want to go back to that life I used to be, stuck, in. In other words, I wanted it to be the music I wished I had when I was broken and hopeless
More than anything I wanted to create something that could save someone’s life or make a change for someone in a dark time and for me that’s what all this is about. The road back is never easy, but I hope this record gives someone, anyone, hope. It releases on May 3rd, 2024, worldwide, on the first Friday of National Mental Health Awareness month and is supported by the organization, To Write Love On Her Arms which supports mental health.”
“I definitely don’t fit in any box. I make a variety of genres and I’m always exploring new sounds. The music I write is always dependent on the moment I’m in. Sometimes I’m happy and sometimes I’m not but that’s life and that’s what I put in my music. I don’t over-exaggerate or attempt to portray anything, I’m just me. If there is one thing that ties every song to the next it’s the authenticity of my story. Every song and every word was lived, meant and felt by me. In the end though, all my music is for everyone and anyone. I just want to bring awareness to my story, and my life and give others hope.”
“I got into music before I can even remember. My father is what I would call a “beast” on the guitar and loves to play. My dad worked a 9 to 5 for more years than I had been alive, and I never saw the same happiness he had when he was holding that guitar. That put a spark in me. It made me feel that maybe music was where he belonged, but he never tried or never could take the chance to be truly one with.
The ability to write started with my love for poetry in 2nd grade and continued through middle school. It wasn’t until I was in a juvenile youth center that I started to experiment with trying to rap on beats or write with a specific sound in mind. After that, writing music kept me alive through years and years of addiction and depression, almost daily wondering if I should live. It wasn’t until 5 years ago when I got sober that I started to clearly see the vision. Since then, I have hit the iTunes Charts twice independently. I’ve accumulated over a quarter million streams in 2023. I’ve done songs with legends such as Blind Fury, Caskey, Merkules, and many other amazing artists. Most of all I’ve been finding myself along the way and that’s something special to my heart.”
“That’s a chapter of my life that is just getting started, but something I’m really looking forward to. So far, it’s been nothing but love and solid continuous guidance from them. They continue to bring me confidence and opportunity. They have helped me align contracts with many industry partners and continue to put my name in the right places for growth. I genuinely appreciate them for their work so far and again, I’m very excited to see what the future holds with The Lotto Tribe!”
“Artist-wise, I’d say Caskey, Jelly Roll and LaRussell give me the most inspiration currently. The hustle and the constant innovation are something I respect and appreciate from all of them.
I’m inspired by different people at different times, but I often pull my inspiration from my own life. Whatever I’m feeling or whatever I’m dealing with at that moment is what I write about. Music is a way to cope and a safe space for me, so emotions often drive it. I’ll often base the lyrics, beat cadence and melodies off of just how I feel in the moment. Music is something that makes me feel alive and through it, I’ll continue to try my best to be my best.”
“This is another chapter of my journey that’s just getting started! Johnny Phillips has been extremely helpful in getting me set up over there at Select-O-Hits and I genuinely look forward to our future years together. They’re very well known from the days of his father Tom and uncle, Sam who founded Sun Records. They’ve also been influential in distributing Memphis hip-hop legends Three 6 Mafia and Lil Wyte. Even Jellyroll had projects through them in his early career. I’m just happy to be here in the now and be a part of something with such a history!”
“This year will be my greatest yet. My biggest news so far this year will be the full rollout release for the single project with The Lotto Tribe, “The Road Back”. It’s one of my most meaningful pieces to date and I can’t wait to share it with the world. We also have shows lined up across the country including a SXSW visit here in Austin, Texas. I plan on dropping multiple singles and a possible full album once the vibe and timing feels right! There will also be more collaborations, big features and visuals but you’ll just have to follow me and wait to see what things I have in store! This is just the start for me.”
Stream I AM Cricchi on Spotify and discover more about the artist here.
Interview by Amelia Vandergast