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Alternative

PRI// Talks Sonic Freedom, Narrative Albums, and What’s Coming in 2025 – An Exclusive Interview

Posted on 18 December 2024

In this exclusive interview with PRI//, the boundary-pushing artist reflects on a year of bold sonic narratives and lyrical honesty that’s set the tone for what’s to come in 2025. Known for leaning into instinctive creativity and crafting albums that feel thematically cohesive yet unshackled by convention, PRI// explores themes of solace, self-expression, and connection through music. With a glimpse into the upcoming releases and a promise to amplify the visual element alongside the sound, PRI// offers a candid look at the passion and process driving their artistry.

PRI//, welcome to A&R Factory! Thanks for the opportunity to connect with you as you close out a hyper-productive year! What’s been the highlight of 2024 for you?

So many highlights but I have really enjoyed creating my albums – bodies of work which have told complete narratives from start to finish. Not quite concept albums but almost. I’m thinking of Begging, Manufacture and Vagina Den Tata.

I’ve also enjoyed developing a bit more in the live setting on TikTok and leaning into the visual elements too. There are exciting things to come!

We love that you’re not afraid to go bold with your tracks and track titles; how does it feel to be so free through sonic expression? 

 I think it’s important to hold true to your instincts when you are an artist creating, you need to be aligned with that little voice inside and honour it, without trying to stifle it!

If you had to name one, what’s the main component which ties your eclectic discography together? 

I think the common thread is…me! Ha ha! People also seem to respond to the lyrics, and that is really great to hear. I want to create a body of work, a body of work that can help people, that can soothe them in times of distress and make them feel less alone.

Where do you typically find your lyrical inspiration? 

Everyday life. Or it can be something I read or watch. A line of dialogue will set me off. Or it can be something that someone says or the way someone looks. It can take me by surprise.

You’ve teased a string of upcoming releases in 2025; can you give us an inside view into what will be dropping onto the airwaves? 

There’s more stuff coming and I’ll be leaning into the visual element more. I don’t want to give too much away but it’s an exciting time!

How did these tracks come to fruition? 

I am spinning a lot of plates, so I try to use my time in a productive way but that also feels free and conducive to making something honest. So I like to have my instruments on hand and easily accessible to create when the spirit moves me

How do these singles tie into your broader ambitions? 

My main ambition is to create music that makes people feel less alone that is like a virtual hand, held out to give support. The artists I love have been like that for me.

Stream PRI// on Spotify.

Interview by Amelia Vandergast

Hard-Edged Synths Collide with Wit-Sharp Bars in Pretty Blicky’s Alt-Trap Speaker Slammer, RUN (v2)

Posted on 15 December 2024

RUN (v2) by Pretty Blicky (AKA Kami the Wolfboy) hammers through the streets with trap beats that bounce like rubber bullets against concrete walls. The track’s 00s hip-hop grit and warped, discordant synths charge each verse with a dark momentum that’s already rattling the mainstream, proved by tens of thousands of streams and its transformation from an urban underground secret into a speaker-slamming stormer.

Pretty Blicky, sometimes operating as the child-friendly persona Kami the Wolfboy, has carved a distinct space in a less diverse musical climate by blending humour, intellect, and genuine compassion. From highlighting socioeconomic and political issues with unapologetic authenticity to experimenting across multiple genres—culminating in what he dubs “Grunge Trap”—he refuses to be pigeonholed.

‘RUN (v2)’ sits next to tracks like JOYBOY—an upbeat pop and rap hybrid that disguises heartbreak beneath brighter tones—and SORRY NOT SORRY (#SORRYNOTSORRY), a viral sensation with over half a million YouTube views, revered for its sharp commentary and lyrical chops.

Beyond streaming figures, Pretty Blicky’s philanthropic acts, such as sending thousands of dollars to those in need while working at Chipotle, and earning verification on CashApp, amplify the authenticity that resonates through every bar.

With ‘RUN (v2)’, Pretty Blicky forced new fault lines through stale terrain, giving fans of trap something raw, resonant and hyped to the max to get psyched with.

Stream the official music video for RUN (v2) on YouTube now.

Review by Amelia Vandergast

Kilravock unchained a sludgy industrial rock wrecking ball with ‘Incompatibility’

Posted on 14 December 2024
Incompatibility ][ Working Class Hero by Kilravock

The latest single, ‘Incompatibility’, by the alternative artist Kilravock, sonically storms through the gates of multiple genres. The raucously riled juggernaut is fuelled by the fire of industrial metal, sludged up through strokes of stoner doom rock, and finds its chameleonic stripes through the influence of progressive rock. It’s an onslaught of chaos that places Kilravock in the same league as Combichrist and Rammstein without bowing to any mechanised predecessor’s rulebook.

Omaha-based Steven W. Smith—known for his contributions to The Alliterates, Lucid Fugue, Megaton, and Valley of Shadows—has morphed into a one-man powerhouse under the Kilravock moniker. From instrumentation to production, everything you hear is of Smith’s own making, lending the track an undeniable sense of personal authenticity as it distils Smith’s frustration with society’s rigid frameworks and his lived neurodivergent experiences into a landscape of deep, sorrowful vocals and raw, frustrated howls.

Throughout, Kilravock’s grip on the melodic weight ensures that even though you’re pummelled by vicious distortion and messy reflections of discordance, you’re never lost. Instead, you’re locked into the insanity, granted permission to unchain your own chaos, and left with an aftertaste of brutal truth.

Incompatibility is now available to stream and purchase via Bandcamp.

Review by Amelia Vandergast

Naakz broke beats and through the monotony of sonic hegemony in ‘Turn Around’

Posted on 11 December 2024

With Turn Around, the concluding single from his sophomore LP, Reparations, the icon of the underground Naakz detonated the obsession with convention in contemporary hip-hop.

The Māori artist, steeped in the philosophy of his iwi heritage, cast the first stone in the resistance against the sonic hegemony with his break-beat-driven production which sinks listeners into an introspective headspace where wavy lines of funk ripple into the chaotic shimmer of avant-garde psychedelia. The glossy luxe aesthetic is bent almost beyond recognition, leaving a warped yet magnetic invitation to question the systems we’re complicit in.

Rooted in experimental abstraction, Naakz’s work resonates with the influence of legends like D’Angelo and MF DOOM while channelling the beat-smith genius of Madlib and J Dilla and leaving room for his own sonic blueprint, which is amplified by the raw pulse of his SP404MK2, or as he calls it, his “Decolonisation Device.” If you want to break away from the mediocraty of the modern music industry, hit play.

Stream the Reparations LP in full on all major platforms, including Spotify.

Review by Amelia Vandergast

Scared of Sharks Interview: From Chaotic Tales to Live-to-Tape High Octane Fidelity

Posted on 7 December 2024
Scared of Sharks

Scared of Sharks sit at the intersection of humour, raw energy, and unapologetically Australian references. Ahead of their debut EP, ‘Double Happiness’, the trio shared insights into their creative process, the chaos that inspired their latest single, ‘Last Train to Wyong’, and their live-to-tape recording approach. From their roots in Mogareeka to their presence on the East Coast, the band unpacks how geography, storytelling, and collaboration shape their sound, offering a fresh perspective on how authenticity and live performance energy translate into their recorded material.

Scared of Sharks, welcome to A&R Factory! Thanks for connecting with us ahead of your next release, Last Train to Wyong. The track stems from quite a chaotic and humorous personal experience. How did this specific event inspire the tone and narrative of the track, and do you think storytelling in this vein defines Scared of Sharks’ approach to songwriting?

Thanks For Having Us!

Yes and no. We’ve got a couple of songs that are a bit more narrative-based and then a few that are a bit more personal to Taylor. Wyong is the first song that all three of us wrote together. We kinda just jammed it out over a few days with everyone contributing their own bits.

The second verse of Last Train to Wyong references the ‘Democracy Manifest Bloke’, an iconic Australian cultural touchstone. How important is incorporating humour and local references in your music to connecting with your audience?

Very important. I think the whole world loves Australian bands when they sound Australian. Whilst not everyone is going to get every reference, as long as it’s not forced, people just enjoy it for what it is.

Your forthcoming EP, Double Happiness, promises a mix of genres, from post-hardcore to alternative folk. How did you navigate pouring such diverse influences while maintaining a cohesive identity across the EP?

Well, I guess we all listen to a lot of different bands and artists, and it sort of naturally came out like that. We originally just had the five heavier songs but thought the EP needed one moment of reprieve in there so added Cauliflower at the last minute.

What do you hope the decision to record the EP live-to-tape brings to the EP from a listener’s perspective? 

We’ve been playing these songs live for the past couple of years, so it just made sense to do them that way. Few little overdubs here and there. Hopefully the live feel comes through when people are listening at home.

You’ve gone from Mogareeka to the Illawarra, and now you’re making waves up and down the East Coast. How has your geographic journey influenced your music, and do you see it as integral to your band’s story?

I’m not too sure, there was no live music down around Mogareeka which is why Taylor moved up the coast to the Illawarra. There are definitely heaps of good bands and music up here plus we’re right next to Sydney so it just makes it so much easier to get gigs and meet other people in bands.

Your live shows have been described as high-energy and humorous. How do you channel that same dynamism and connection with fans into your recorded material?

Just not taking things too seriously and if someone has a silly idea for a skit or something try it out.

Tim Shady’s drumming, Louis Crouton’s basslines, and Taylor Schwifty’s lyrics are all highlighted as key components of your sound. How do you all collaborate to ensure each element shines while creating something greater as a whole?

We try not to step on each toes so to speak. Generally, Taylor will bring in the chords and lyrics, then Tim & Loui will come up with their own parts & have their say if they think anything can be tweaked to make the song better. We just try to make it so we’re all working towards making the song as good as possible.

Your journey from your first release in 2021 to this debut EP has been eventful, including independent tours and festival appearances. What pivotal moments stand out during this time?

Probably the first tour we did, didn’t exactly pack out every venue haha but it was just sick to be travelling with your mates around the place to go play shows.

Stream Scared of Sharks on Spotify and Bandcamp or connect with the artist on Facebook and Instagram.

Interview by Amelia Vandergast

Ulysse Zangs turned the pages of a grief chapter with his artful installation of ambient folk in ‘Gone in Lust’

Posted on 5 December 2024

The opening sequence to Ulysse Zangs’ single, Gone in Lust, rivals the chill-inducing talents of David Lynch; it’s a slice of sonic arthouse cinema in itself. After the haunting discordance of the synths, a gentle acoustic guitar melody rises within the ambient folk production against the singer-songwriter’s diaphanously sweet vocal lines, which are just as caressive as Elliott Smith’s, with a nuanced alt-country twang.

As the single progresses with ethereal semi-lucid candour, the jarring synths pick their moments to rush through the release, adding a palpable sense of unease to the reverie of the single.

With every release orchestrated in an intersection of sound, movement and nature, Ulysse Zangs’ is so much more than an aural architect chiselling their legacy into the airwaves one release at a time. By pulling inspiration from a myriad of phenomena, their sound is as cerebral as it is invitingly intimate.

Given the filmic qualities of Gone in Lust, it is no surprise that Ulysse Zangs also scores for performance pieces, art installations and film. Their recently released EP, Idle Hands Or, which features Gone in Lust, is an exploration of grief and recovery; after the passing of his grandmother, Zangs returned to their hometown, a small village in Normandy, and set up a studio in their grandmother’s former home.

Speaking on the EP, the artist reveals, “This album feels like an invitation to slow down and contemplate—both the external environment and the inner landscapes of emotion. It reflects my journey of letting go of the past and arriving fully in the present moment.”

Gone in Lust is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

The Talking Hours cast the first stone in the indietronica blues-rock revolution with the swagger in their latest seminal release, Stop the Sound

Posted on 5 December 2024

The Talking Hours have returned as unrivalled pioneers of post-punk panache after a four-year airwaves hiatus with Stop the Sound, a track from their third LP, Transmissions to Missy. If you’ve ever wondered what The Black Keys would sound like if they traded in their vintage bluesy tones for indie hooks and Arcade Fire-style swagger, look no further.

Mauricio and Karie, the fierce force behind The Talking Hours, weave magnetic indie vocals through a dense fog of percussion and angular guitars that slice through the track with post-punk precision. The visceral rhythm and sharp riffs deliver jolts of energy while the vocals cut through, commanding attention with their arcane deliverances of deadpan drawls and euphonic harmony.

The way the duo push against the constrictions of sonic conformity by pairing rock, blues, and indie elements with electronic pulses amplifies the hypnotic gravity of Stop the Sound. You’ll come for the perfect equilibrium of style and substance, yet it is the emotive anatomy of Stop the Sound which allows it to establish itself as a playlist staple, with the same sense of magnetism as Editors and Interpol in spite of the abstract nature of the lyricism.

Stream The Talking Hours’ LP, Transmissions to Missy, in full via Spotify now.

Review by Amelia Vandergast

The Music Architect unchained their originality in their alt-pop tour de force, MINE

Posted on 3 December 2024

The lead title track from The Music Architect’s double A-side release, MINE, pulsates with organic originality through a myriad of transgressions in aural aesthetics, making the earworm impossible to pigeonhole.

Attempting to scribe the artist’s sonic signature in words is no simple task; it’s all about the vibe; the vibe that allows you to sink into a seductively cinematic panorama of unfeigned emotion, painted with alt-electro pop motifs, rare lashings of funk flirtations, drips of disco, and the neon-lit synaesthesia of synthwave.

In a music landscape often saturated with formulaic compositions, The Music Architect blazes their own trail by favouring expression over commercial appeal yet manages to hit a home run in both ballparks. The palpable urgency in the vocal performance, which is as chameleonic as the instrumental arrangement, sweeps you up with the force of a riptide in its visceral embodiment of desire.

The 19-year-old New Zealand-based producer and artist has been crafting and releasing music since the age of 14. Their debut album, Depressed But Well Dressed, dropped on Spotify in 2022. Since then, they’ve explored a spectrum of genres—from the indie rock tones of Garden of Mind to the dance and RnB vibes of the 2023 album Metanoia. Now ephemerally nestled in the alt-pop arena with MINE, the Avant-Gardist is becoming increasingly harder to ignore.

Stream MINE on all major platforms, including Spotify.

Review by Amelia Vandergast

The devil is in the debauched detail of Too Late To Run’s seminal alt-rock hit, Diablo

Posted on 3 December 2024
Fake News by Too Late To Run

In their debut EP, Fake News, the outfit fated to become Sweden’s latest alt-rock powerhouse, Too Late To Run (TLTR), takes on the hypocrisy of world leaders and puppet news media with gritty distorted guitars and a subtle voice of sarcasm.

The standout single, Diablo, is a down-and-dirty cocktail of funk, scuzz, and playful punk panache that blasts past pastiche while harking back to acts like Eagles of Death Metal and Mike Patton, who avert cliché with their humorous and avant-garde spins on rock ‘n’ roll tropes. For a while, it has felt like rock has become a parody of itself—a trend perpetuated by artists with scarce awareness of how they’re weak effigies of their idols. But with Too Late To Run, you lock into the rolling rhythms and devil-may-care debauchery, instantly assured that every sonic sermon will leave you wanting to kneel at their eccentrically electric altar.

Born in the UK, songwriter, producer, lead vocalist, and band founder LEA says of the album, “Many people are feeling powerless right now, and these songs are the best way I know to get my own voice heard and try to make a difference.”

Diablo is now available to stream and download via Bandcamp.

Review by Amelia Vandergast

figaro heralded the new wave of darkwave indie with their ‘Good Bones’ EP

Posted on 1 December 2024

If your playlists are littered with tracks from White Lies and Editors, the latest EP, Good Bones, from the Brooklyn-based alt-indie trailblazer figaro is a homecoming for malaised souls seeking salvation in moody synth-driven indie guitar-licked pulsative euphony.

Haunting the borderlands between post-punk-tinged industrial indie sleaze and darkwave synth-pop, the 6-track release is an anthology of strobing ennui. The opening single, Maybe Cherry, has infiltrated swathes of influential indie playlists with its aching atmospherics, angular guitars and abstract crooned lyrics, which paint poetry throughout the hypnotic oscillations.

In Foreva, the indie artist wears their 80s influence on their guitar strings, harking back to the tonal mesmerism of Echo and the Bunnymen while delivering hymnally intimate installations of introspection. All I Know is yet another standout on the EP; with sweeping guitars which echo Interpol, polyphonic synths, a syncopated beat, and the delicious sonic dejection of PEACE and Jaws, figaro scorched their way through the oversaturated synth-pop scene, reigning supreme over the indie landfill pawns as one of the most organically original artists who has graced the darkwaves in recent years.

Stream figaro’s sophomore EP, Good Bones, which dropped on November 22nd, on all major platforms, including Spotify.

For more ways to listen and connect with figaro use this link.

Review by Amelia Vandergast