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From Tragedy to Sonic Triumph: A&R Factory Interview with Emilia Christine Russo

Emilia Christine Russo has instantly established herself as an artist who isn’t afraid to express her deepest emotions through her music. In this exclusive interview, she opens up about the personal experiences that have shaped her debut single, “Ghostly,” a track born from the raw pain of losing her older sister. Emilia’s openness in her art invites listeners to connect with her on a profound level, offering a rare glimpse into the healing process that music can foster. As we explore her creative process and the inspiration behind her work, it becomes clear that her authenticity is at the core of her craft. Her debut single will make you shed a tear; this interview will make you fall in love with her soul.

Emilia Christine Russo, welcome to A&R Factory. We’d love to discuss your debut single, Ghostly, what’s the story behind the single? 

Thank you so much for having me! “Ghostly” came to me after a therapy session, as most of my songs did, actually. For years, I have written on my notes app words that I think would make great song titles. “Ghostly” was one word that I thought was cool, and originally, I thought the song would be a break-up song. Like, the idea of someone being left numb and ghost-like after a break-up. I don’t really write love songs, though. Well, at least not until recently.

Anyway, the topic for “Ghostly” came when I was finally opening up to my therapist about the trauma of the death of my older sister. I was literally the last person to find out about her death. We had a good session, and later that night, I wrote “Ghostly” all in one go. I changed the idea of what “Ghostly” would be like to something that was very healing for me personally. Someone should write a break-up song about how the split left a person wandering around all ghost-like. *laughs*

There’s an incredible equilibrium of artfulness and authenticity in Ghostly; could you walk us through how this manifested?

I don’t know, it kind of came out like a stream of consciousness. I’ve heard my lyrics be described like that before–a stream of consciousness. Just thoughts onto paper. Pair that with a piano, and I got a song out of it.

Did you know you always wanted to debut with Ghostly? 

No, definitely not. This was such a personal song. At the time, I had a music therapist who was more like a songwriting teacher, as she reviewed with me the basics of how to write songs–you know, verse, pre-chours, chorus, yadda yadda–and encouraged me to put into words my feelings about my traumas.

My problem is that I tend to put my feelings into boxes–like, “I don’t have the time to deal with that, to feel those feelings, because I have this deadline or whatever, so I’m going to trap them in this little box and put it on a shelf to deal with later.” Pushing through things is how I was raised. But then that mythical “later” never comes, and the feelings manifest in somatic symptoms. That’s why I was going to her, along with my psychologist. I could state the facts of things that happened to me, but I wasn’t facing my feelings about them.

But back to the song. I wrote “Ghostly” and showed it to my music therapist at our next session. She was like, “I wouldn’t change a thing.” I was really proud of it, so I wanted to show it to people first.

Would you say Ghostly exhibits your signature songwriting style or is it always in flux?

I think it would be accurate to say that “Ghostly” exhibits my signature songwriting style. I don’t like my lyrics to be too predictable in the sense that it has a lot of rhyming. In fact, rhyming kind of grinds my gears and was something I had to slowly be more okay with doing for my songs.

I also like to keep my lyrics kind of vague–general enough for people to not know exactly who or what I’m singing about, which people can then take and personalize for themselves, but specific enough for me to get healing out of it.

What can your fans expect from your forthcoming ‘Two Rights Don’t Make a Wrong EP’? 

More songs about real things that happened to me. Well, except for one song that’s a cover. I heard it when I was a kid and loved it. It’s kind of an old song, and I want more people to know it exists. But yeah, more songs that came from therapy sessions, so they’ll have a kind of emo vibe to them. *laughs*

When did your songwriting skills first start to become apparent? 

For songwriting, I guess it was the first time I showed my lyrics to my music therapist/songwriting teacher. It wasn’t “Ghostly”, it was another song that I don’t think will ever see the light of day, because I’d like to think I’m better at songwriting now. But she really liked it. I had written lyrics before, all the way back to middle school, but they were more like poems. They had the structure of a song, but I don’t think they would’ve worked paired to music.

I was a poet first before I turned to songwriting, and I have been writing poems since elementary school. So, if we’re talking about when I noticed I had writing skills, those go back to when I was a child. Side note, one song off my EP is taken mostly from a poem/”lyrics” I wrote many years ago. I could actually pair those lyrics to an instrumental. I hope that makes my younger self happy.

Who do you draw the most inspiration from lyrically and sonically?

For this song, I drew most of my inspiration from Evanescence but circa 1998 to 2017. I also draw from Paramore and The Holy Trinity of Emo Music–Fall Out Boy, Panic! At the Disco, and My Chemical Romance. You’ll hear that more in my future releases.

What’s your main ambition as a singer-songwriter? 

I just want to see how far I can take this. It’s like one big experiment. Would I like to play a live show someday? Yeah. Would I like my song to get some airplay? Also yes. But really, I’m exploring this one area of writing that I haven’t really delved into and seeing what I can get out of this experience.

One thing I’d really like, though, is to find other female or non-binary musicians in the Seattle area and form a band. I’m an extroverted person and want to make more friends, so I don’t want to go solo with this. *laughs* I have so many songs I could share.

Stream Ghostly on Spotify and connect with Emilia Christine Russo on Instagram.

Interview by Amelia Vandergast

Interview with Finger-Style Guitarist Samaël: Exploring the Ancient Civilizations and Contemporary Acoustic Landscapes in ‘Cascadia’

In this interview, we sit down with finger-style guitarist Samaël to discuss his upcoming LP, Cascadia, set for release on September 5th. Samaël shares the mind-bending concept behind the album, which tells the tale of a lost ancient civilization and its lingering entity which lurks through the modern ages.

We also explore his unique creative process, the challenges of being a solo instrumentalist, and how he’s evolved as a musician since his debut album, Shadow. Samaël reflects on the balance between technical skill and emotional storytelling, offering insights into the future of his music career.

Samaël, welcome to A&R Factory! Thanks for sitting down with us to discuss your upcoming sophomore LP, CASCADIA, which is due for release on September 5th. What’s the concept of the LP, and what kind of sonic world does the album open up to listeners? 

The concept of the LP Cascadia is the storyline of an ancient civilization that we lost a long time ago. I’m not saying that’s a true story. I’m just saying that’s a story that inspired me a lot to write this album; the only remnants left of that civilization is an Entity that roams the earth to this day, trapping modern souls in his grip.

This is the storyline that you’ll be able to see in the music video trilogy; part one came out in July. Part two, The Mask, will come out on August 30. So, basically, this new album is a contemporary solo acoustic album which blends minimalism and metal into a fingerpick style.

Can you walk us through the creative process of composing the pieces?

Sure, so basically, I took a drastically different approach to the last album. I composed on software without the guitar in my hand because I felt at that time that my compositions were getting predictable and that I was starting to be stuck in a mould if you will and I didn’t feel like I had my sound yet.

So, I composed something that was purely off of my ears and I was not limited by what I could do or not do technically on the guitar and so that was a creatively rewarding process. However, the problem is that you have to learn the pieces and the more you get ambitious during the composition phase the harder it is to learn and perform them because they become so weird technically for the physical movements of how to play them if that makes sense

Does being a solo instrumentalist feel isolating at times? 

No, not at all, I played in a band for 10 years in Montreal before embarking fully on my finger-full project. There are positives and negatives of being in a band and being a solo musician but what I specifically love about being a solo artist is the independence, autonomy, and full control I have over the creative process. However, solo projects can often feel like a mountain of work that I have to scale alone, but apart from that, I like it, I like his approach.

What other challenges does being a solo artist present? 

I think for me the biggest challenge is what I just hinted at. It’s trying to manage the musical project as a label would as best you can. I compose the music, learn the pieces and practice them to perform live – it can be a lot! I also promote the shows, run marketing campaigns, manage my social media pages, and reach out to publications, so it’s difficult to make sure I don’t forget anything and I am giving myself the best chance possible.

You’ve got an incredibly intricate guitar style, how immense is the pressure to execute each composition flawlessly while playing live? 

Thank you. The pressure was at its highest when I started playing live solo shows. I have played in bands for years, but anyone who has played solo knows that playing in a band and playing by yourself is a whole different experience on stage and you feel you really feel naked. If you’re playing in a band and you make a small mistake on guitar often it does not show, it’s not obvious to the crowd because there are other instruments in the mix, but when I’m by myself, every little detail is heard and missed notes can’t be forgiven. That kind of pressure forces you to really up your game, but I have been doing this for several years at this point so I would say that I am reaching a point of confidence.

Who are your main influences as a guitarist and composer? 

I have a lot to name, but the first artist that pops to mind is Erik; I will be getting the chance to play a concert this summer with him and Antoine Fool as a trio. His music made a huge impact on me years ago; he taught me that sometimes there’s a visual dimension to the music.

As a composer, it’s easy to get carried away with technical aspects, and I speak from personal experience. When I was younger, I often found myself focusing too much on the visual or technical side of things, rather than the core reason we create music—the sound, the emotion, and the story it conveys. I remember hearing a piece for the first time and realising that the musician wasn’t trying to show off his technical prowess, even though he was incredibly skilled. Instead, he was focused on communicating a story with deep emotion through his guitar. That had a profound impact on me. It taught me that sometimes the simplest actions, like playing just two notes, can be more powerful than any technical display. The key is not letting your ego interfere with your creative process.

Your debut album, Shadow, was released in 2018, how have you spent the years between your two LPs? 

Well, Cask took a lot longer to finish than I had anticipated so that definitely took a lot of time but since 2018 a lot has happened since then, when I finished my master’s in musicology in Montreal, I moved back to where I come from in New Brunswick and started working at a music school there; that was my first real experience in the job market after being a full-time student. I also took a lot of time to try to own certain skills that I felt were lacking like, for example, music recording, video editing, and other skills which are really important for a self-employed musician.

What else does the future have in store for Samaël? 

Well, I have several things in mind, I will see how things unfold but just to give you a little glimpse, there won’t be another solo finger-style album in the future. But as I mentioned earlier, I got carried away in the composition process, and when it came to time to learn those pieces it was clear that we needed to retreat to actually learn them because there’s so much going on in the music just for one person. Apart from that, I’d like to start another album with some other artists.

Stream the official video for Samaël’s latest single on YouTube.

Follow Samaël on Facebook, Instagram & TikTok.

Interview by Amelia Vandergast

Silver Magpie’s alt-indie single ‘Dickens’ is the perfect package of style, substance, and scintillation

Forget about the Oasis reunion, Silver Magpie’s return to the airwaves following a two-year hiatus with the single, Dickens, is infinitely more laudable. The trippy in all the right places alt-indie art-pop single, which embodies the classic songwriting of epochs gone by, is a tonal triumph. The glistening piano keys and angular guitar notes against the moody reverberations create an evocative platform for the singer-songwriter to pour candour across as he covers the pain of coming to terms with externally and internally concealed truths.

The consistently in flux vocal presence delivers everything from punchy cadences that punctuate the track as much as the percussion to resigned yearning to fiery swaggering outpours of unfeigned emotion to ethereal harmonies which endlessly ascend through the production.

Jesus Gutierrez hit pause on the Silver Magpie project after his 2022 single, Cartoon Hero, to refine his sound; given the kaleidoscopic gravity which pulls you into the poetic cosmos of Dickens, it is safe to say that the singer-songwriter has got his sonic signature down to a fine art.

The way Dickens implores you to swim with the thematic currents establishes Silver Magpie as so much more than an artist paying homage to the alt 80s and 90s; he’s a 21st-century pioneer, filtering his evocative narrative through lenses of textural nostalgia, resulting in a sound that you can sink into and instantly feel at home while prising new-found resonance from his eloquently penned productions.

Dickens was officially released on August 22nd; stream the single on Spotify now.

Review by Amelia Vandergast

Barry Slorridge – Why? Avant-Garde Whovian Electronica

Any artist who uses the vocalisations of an existential Dalek in their tracks is an icon in our book, and that’s just the tip of the ingenuity iceberg in Barry Slorridge’s slice of Whovian avant-garde electronica.

With Why? the UK-based composer, producer and multi-instrumentalist didn’t use his Bachelor’s Degree in Classical Composition by any conventional means; instead, he chose to score his cultivated composition chops into an installation of delicious discordance which reminisces with nuances of The Beatles and Kraftwerk.

The synth lines carry echoes of The Phobophobes, introducing a dark, reflective undertone, interwoven with kaleidoscopic effects, allowing distorted waves of psychedelia to cascade through the music. Meanwhile, sweet psych-pop harmonies offer a stark contrast to the monotonal menace of the Dalek samples.

The track epitomises revolutionary art, achieving a rare feat—it unsettles those comfortably ensconced in their auditory preferences while providing solace to those who find beauty in the bizarre. Once Slorridge finds his niche, he will be an unreckonable force in the alt-electronica scene; his ability to orchestrate sensory experiences which bend the mind and electrify the pulses is unparalleled.

Why? was officially released on August 5th; stream the single on YouTube now.

Review by Amelia Vandergast

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

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

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

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

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

Review by Amelia Vandergast

EGO DEF struck only the rawest chords with the alt-indie trap hit, wings

Fans of Fijmar, Alixx, and LIL NYX won’t want to miss EGO DEF’s single, wings, which transports through the darker recesses of indie-licked electronic alchemy, merging emo’s raw emotional intensity with the rhythmic pulse of trap.

The track’s plaintively striking beats lock you in as you sink into the razor-sharp tendrils of melancholy, making it a deeply resonant experience that echoes the all-too-relatable growing pains of youth.

wings laments over feelings of inadequacy, the overwhelming uncertainties of life, and the reckless desires that often accompany them. With every beat and lyric, EGO DEF’s polished and magnetic melodicism pulls you deeper into his world, where vulnerability meets the danger of desire.

As EGO DEF inches closer to the coveted 1 million streams mark, it’s clear that his achingly resonant productions are striking a chord with listeners. His ability to channel raw emotion into agonised earworms suggests he’s destined for top chart positions.

wings is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Ditch the Demon is out for blood in their sonic screening of garage goth glamour, Fright Night

Fans of Zombina and the Skeletones, Lesbian Bed Death and the Creepshow won’t want to miss the installation of horror and garage goth glamour, Fright Night, prised from the crypt of Ditch the Demon’s LP, Ain’t Dead Yet.

With the percussive pulse of punk and the phantasmic reanimations of new wave indie conjured by the guitars filtered through a psychedelic prog rock lens and the livewire energy rippling through the production as a courtesy of Amanda Brooks-Byron’s histrionically haunted vocals, Fright Night hits with an exhilarating horror punk intensity.

After forming in 2018, the Hastings-hailing powerhouse has made chilling waves with their scintillatingly dark sonic signature; the launch of their debut album in 2023 marked the zenith of the band’s career so far but with their infamous live shows, Ditch the Demon isn’t a band to underestimate.

Stream the official music video for Fright Night on YouTube.

Review by Amelia Vandergast

Post-punk intersects with desert rock in djamesk13’s embodiment of masochistic nihilism,  If All Hell Fails, I’ll Have My Bed of Nails

Even if the artistic merit solely lay in the Shakespearean-esque title, djamesk13’s latest single, If All Hell Fails, I’ll Have My Bed of Nails, would be a sonic masterstroke.

Yet, the way the alt-rock visionary conjured an embodiment of masochistic nihilism through the cold distortions of post-punk and the droning kaleidoscopic psychedelia of desert rock within this resonantly psychologically plagued soundscape ensured that anyone who shares the visualised proclivities will meet profound vindication.

There’s nothing quite as alienating as the sense you are being driven towards desolation, but that didn’t get in the solo artist’s way of manifesting unity between the outliers who can’t be placated by life’s simple pleasures.

If All Hell Fails, I’ll Have My Bed of Nails is yet another undeniable attestation of djamesk13’s ability to utilise sound as a means of forcing his listeners into trance-like sessions of reflection.

If All Hell Fails, I’ll Have My Bed of Nails is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast

Ry Welch pushed the boundaries of avant-garde production with ‘THE MOMENT OF DISAPPEARANCE’

https://drive.google.com/drive/folders/1F0fXCfC60P5JJbaXc69s121Ja6WvfCmu

Ry Welch’s seminal single, The Moment of Disappearance, nestled within his recently remastered LP, Hostile Lazarus, could easily be dismissed as an installation of pure augmented obscurity, but if you lean in a little deeper into the fiercely thematic dualistic beauty within the juxtaposition of the euphonic and abrasive elements, the genius of Ry Welch becomes evident.

Accordant elements bleed from synthesised harmonies, echoing the 60s psych-pop bliss of the Beach Boys and the Zombies, while the frenetic insanity allows you to imagine the sonic love child of Fantomas, Glen Branca, and ELO. The cultivated yet chaotically unhinged production supports a narrative epic, inviting listeners on an unmissable saga through the proclivities of an unfiltered erratic mind.

Despite his niche sound, Welch has garnered a loyal following that reveres his uniquely animated sonic signature born from unbounded creative vision. Given the exhilaration in The Moment of Disappearance, it is easy to see why.

Born in Austin, Texas, and later honing his craft in Northern Virginia, Welch initiated himself into the music industry by amassing multi-instrumentalist stripes at the age of five.  His teenage years saw the formation of his first band, laying the groundwork for a career marked by an unyielding dedication to musical innovation.

Welch’s eclectic background includes studying jazz and classical bass at VCU, performing jazz in the DC area, and expanding his horizons at the New England Conservatory, where he engaged with luminaries such as John Cage and Elliott Carter. His versatile career spans from composing jingles in New York City to performing with regional jam bands in Virginia, and now, pushing the boundaries of avant-garde production in Los Angeles.

The 2024 remaster of Hostile Lazarus dropped on July 15 and is available to stream on Spotify.

Review by Amelia Vandergast

Not From Concentrate crashed the alt-rock scene with their ska-grunge synthesis, You & I

Not From Concentrate promises the freshest sound in the NYC ska scene and the misft powerhouse definitively delivered with the release of their latest ska grunge hybrid, You & I, which showcases the group’s ability to blend fierce pop-punk bursts with tender, vulnerable harmonies, inviting listeners to experience every shade of emotion

For anyone who has ever let their walls down only to allow regret to build them again, this queer punk anthem is the ultimate consolation. Just as the artist’s moniker would lead you to believe, there’s nothing artificial about their sound; the visceral emotions mainlined into You & I are straight from the source.

By synthesising the sludge of grunge with the infectiously uplifting staccato chops of Ska, the Staten Island-hailing trio which is deeply entrenched in the NYC scene delivered a sonic revolution which shimmers with authenticity and raw power. Rounded off with a pioneeringly innovative guitar riff, You & I is a testament to their rightful place in the queer musical pantheon.

You & I was officially released on July 19; stream the single on Spotify now.

Review by Amelia Vandergast