Browsing Tag

Electro Pop

Duane Harden conquered the pop scene with Blind (Pop Life Mix)

Posted on 11 December 2024

After carving a legacy in the confines of the house music scene, Duane Harden has proven his mettle as a pop icon in the making with ‘Blind (Pop Life Remix)’.

Euphoria pulses through the intro, carried by shimmering new wave synths that ignite a rush of sonic exhilaration. As the melodies gain momentum, Harden’s mastery of interwoven complexity becomes unmistakable. This is not the work of an artist content with formulaic hits; instead, Harden layers raw emotion, kinetic energy, and rich textures into his production, crafting an anthem that resonates with bittersweet authenticity.

The track pulls listeners into a trap-tinged world of naïve desire, where the longing to escape emotional vulnerability is laid bare against the Latino guitars and disco-pinched grooves. With each progression, Harden’s hooks tighten their grip, drawing you deeper into the duality of aching euphoria and scarred sentimentality.

By refusing to paint within the lines, Blind (Pop Life Mix) cements Harden’s place as a multifaceted artist capable of shifting seamlessly between genres while delivering emotive, high-energy productions. For his 81k monthly listeners and beyond, this track is an invitation to revel in the alchemy of pop at its most sincere and unflinching.

Be a part of the hype by hitting play on Spotify.

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

Embrace the nostalgically chaotic empowerment in Melody Key’s hyper-bubblegum-pop hit, College Groove, ft 0mili0us:

Posted on 2 December 2024

Melody Key’s official debut single, College Groove, featuring British rapper 0mili0us, is an explosion of Y2K pop nostalgia ignited by unapologetic hyper-pop ferocity.

Formed virtually through TikTok in 2022, the trio—Kitty, Shanti, and Bella experimented with their creative synergy by recording tracks on Bandlab and releasing them on Soundcloud. After a year of digital experimentation, they’ve graduated to the big leagues with a debut that’s impossible to ignore.

Sticky-sweet bubble gum harmonies form the earworm’s anatomy, but its soul thrives in its feminist grit. Between the euphoric bursts of neon-coloured melodies, 0mili0us delivers rapid-fire rap bars that sharpen the edges of this otherwise sugar-coated anthem.

By injecting Y2K aesthetics with a progressive punch and proudly wearing their serotonin on their sleeves, Melody Key became the ultimate conduit of female empowerment with their anthem that crashes onto the airwaves like a fresh feminist wave.

TikTok virality may have been their genesis, but Melody Key proves they’re more than a digital gimmick. They’re a powerhouse with enough energy to keep their fans craving more.

Whether you’re here for the nostalgia, the empowerment, or the unapologetic chaos, Melody Key delivers it all with an infectious swagger that commands attention. It’s pop, but not as you remember it—this time, it’s here to stay.

Stream College Groove on Spotify now.

Review by Amelia Vandergast

Maxell’s Psychedelic Indietronica Debut ‘Hide and Seek’ Taps Into the Ether

Posted on 27 November 2024

https://www.youtube.com/@wearemaxell

Maxell, a London-based trio, might be a fledgling force, but with a synth-driven sound more psychedelically potent than anything you can buy in a back alley in Camden and the wealth of experience they bring from other bands, they’re proving to be unreckonable.

Following an intro which hits with the pulse of She Wants Revenge, their memento-musing debut single, ‘Hide and Seek’ soon twists into a stylistically embellished installation of Avant-Garde indietronica.

The synths distort into kaleidoscopic oscillations as they synergise around the shimmering organ tones and delay-saturated guitars, creating an entrancing backdrop for the ethereally crystalline vocal lines, which paradoxically carry immense weight as they embed the lyrics deep into the listener’s psyche.

If you have a lot of love for Legendary Pink Dots, you may as well hand your heart over to Maxell and their signature ‘hauntology’ sound now.

Stream the official music video for Hide and Seek on YouTube or head over to Bandcamp where you can purchase the single; all proceeds from this single will be donated to the homeless charity, Crisis UK.

Review by Amelia Vandergast

Effy Wang: Bridging Dreamscapes and Beats in ‘Da Di Da La’

Posted on 5 November 2024

In her debut single, Da Di Da La, the up-and-coming alt-pop siren Effy Wang juxtaposed the etherealism of dream pop with the rhythmic momentum of EDM by doctoring a pulse-pounding backbeat into the arcane atmosphere of the soul-driven production.

The rush of emotions that each progression manifests couldn’t be more visceral; the way the diaphanous elements intersect with the rhythmic intensity will undoubtedly leave plenty desperate to hear more from the icon in the making who is no stranger to beguiling audiences with her live performances. Now, she’s set to take over the airwaves with her effortlessly distinctive sonic signature, which is scarp enough to etch her name into the legacy of alt-electro pop.

Da Di Da La was officially released on October 21; stream the single on all major platforms, including Spotify.

Review by Amelia Vandergast

SonicFluxx Interview: Cosmic Inspiration and Artistic Evolution on Florida’s East Coast

Posted on 3 November 2024

In this A&R Factory interview, we speak with SonicFluxx, an artist shaped by a childhood amid the unique cultural and natural landscapes of Florida’s East Coast. SonicFluxx shares how experiences such as witnessing shuttle launches, growing up near Disney World, and being surrounded by 80s and 90s pop icons like Depeche Mode, Madonna, and Pet Shop Boys influenced his sound and vision. He reflects on his path from DJing to full-time music production in Los Angeles, alongside the challenges of adapting to social media in the modern music world. With new music on the horizon, SonicFluxx reveals a vision dedicated to using music as a healing force, ready to connect with listeners globally.

SonicFluxx, welcome to A&R Factory! Thanks for sitting down with us to discuss your career and your future ambitions. We’d love to know how your upbringing on Florida’s East Coast, among such iconic figures, influenced your sonic signature.

Growing up in Central Florida in the 80’s and 90’s was a special time in our American history and I feel lucky to have experienced many things that most didn’t during that era. Growing up next to Disney World taught me that music holds messages and meaning and that music can be the language that unites all.

I watched the Space Shuttle program firsthand and watched many shuttle launches from my backyard. I learned at a young age that there was more than this world we are on and I found love in the stars and the universe. I questioned my existence of this planet at a pretty young age and what my role was. I grew up living five minutes from the beach – walking through the sand and understanding the concept that a speck of sand doesn’t make much, but a whole bunch of it creates a beautiful beach.

When you grow up and live in such a magical and inspirational place, I think it tends and fuels the creative fire within and ignites the spark that so many musicians and artists before me have experienced.

What was it about Depeche Mode, Madonna, and Pet Shop Boys that inspired you to light your own creative spark?

I found deep inspiration with these three artists particularly because through their music, I learned that songs can have a message to invoke positive change in society. Many artists feel a duty to use their voice as a platform to invoke political, cultural and societal change in the world and this is also what I wanted out of my own music and songwriting. Aligning with the same beliefs as an artist also made me feel connected to the artist themselves in a way and I found this connection to be very special.

How has your relationship with music changed over the years?

I was born in a Southern Baptist Church, so I grew up singing traditional hymns on Sundays. I grew up extremely sheltered from what is called secular media in the religious tone. My introduction to pop and dance music did not occur until my rebellious teen era, in which I would spend hours in FYE at the mall and listen to CDs. I consumed every bit of pop culture I could at this point in my life. I connected with dance music in a spiritual way that spiritual music never gave me.

I began to study and analyze what made a great song at this age. I would have a knack for knowing what songs on an album would be the next single before it was released. I turned this talent into songwriting. I was a DJ in my early 20s and began producing remixes myself with Sony Acid Music Studio on a laptop I rented from Rent-A-Center.

I am a self-proclaimed pop and dance music lover. I took pride in sharing new tracks with people and seeing their reactions when they loved it. After many years of no music interaction other than consumption, I quit my job, quit college and moved to Los Angeles to pursue a music career full time. I find myself enjoying creating music more than I enjoy listening to it myself. However, don’t get me wrong, I still stan for a few artists new music!

Creatively, what came most easily to you, and what did you have to work hard to hone?

Melodies, hooks and songwriting came the easiest. Most of my songs have been written in about three days – one song I wrote in 15 minutes. I have a knack for hearing a beat and immediately hearing a melody in my head. Then words come after that. It’s a chaotic process I will admit, but it works for me.

Half of my lyrics aren’t even written down anywhere because songs are written so quickly. ‘Nomad’, for example, was half written and I made up the rest of the lyrics in the studio on the spot. My songs come from my life, my struggles and my heartache – it’s pretty easy to spill out currently.

What is challenging for me is creating social media content. I am not good at picture taking, not quick to take pictures in settings and I find creating and thinking of social content does not come easy at all. I am from the MySpace generation, so the new era of social media has definitely been the biggest challenge to overcome for me.

You mentioned a period of depression after focusing on your vocation as an astronomer; do you believe a lack of creative output is to blame for a lot of existential suffering in others?

Short answer: yes. I believe that many people do not use the right side of their brain enough and invoke creativity in their lives. I love that book reading and crocheting has made comebacks these days. I think more people need to find that creative output to truly find peace. As a child, we use this side of our brain so naturally and it’s a beautiful thing. When we lose our sense of imagination and wonder, we can lose who we are and where we are going – Walt Disney taught me that and I still firmly believe in it.

Could you tell us more about your vision for your music going forward and any new directions you are exploring in your artistic journey?

When I started my music career full time, I said that if my music reached just one person and helped them, I’ve done my job. Music is healing. Music can be your remedy, as I sing in my song ‘Remedy’, which is a love letter to all my fans. I have achieved this and now my goal is to take the same concept but go worldwide.

I am always writing new music and do have new music ready to go and am planning to release a deluxe edition of the album around February 2025.

Stream SonicFluxx on Spotify and discover more about the artist via their official website.

Interview by Amelia Vandergast

Jaco Painted a Pop Portrait of Love’s Duality in His Latest Single, ‘Gioconda’

Posted on 22 October 2024

In his third single and first Italian release, ‘Gioconda’ the electro-pop icon in the making, Jaco, tracked the highs and lows of love, painting a sonic picture as ambiguous and complex as the Mona Lisa’s smile. As the bass kicks momentum into the disco-funk-tinged indietronica beats, the pop production draws you into an intoxicating kaleidoscope of emotion which shimmers with reflections of love’s beauty and inevitable fragility.

Having made waves across the UK and Italy, Jaco’s latest release ensures nothing is lost in translation. Even if you don’t speak the language, the sticky-sweet melodies and euphoric reverberations will resonate. The warm tones offer a sense of familiarity, while the layered production reveals a depth that lingers beneath the fresh, summery exterior.

Prior to introducing his latest single to his staunch fanbase, Jaco hit international stages, brushed shoulders with Eurovision and X Factor alumni, and found a distinct way to maintain a unique sonic signature by channelling his classical training and Italian roots into British pop sensibilities.

Gioconda was officially released on October 11; stream the single via all major platforms via this link.

Review by Amelia Vandergast

Elevated Focusion Reflects on his ‘Dark Nights’ LP and Sonic Fusionist Style

Posted on 2 October 2024

In this exclusive interview, Elevated Focusion took us into the shadows of his latest album, Dark Nights, exposing the eclectic sonic styles which have shaped his unique artistic identity. From his roots in the late ’90s rave scene to his exploration of outlaw country and dancehall, Elevated Focusion discusses the transformative role of live instrumentation and how classic rock concept albums inspired his approach to producing a yet genre-fluid tour de force. Read on to discover how Elevated Focusion’s past and present musical identities intertwine to forge a path forward in his artistic career.

Elevated Focusion, you made an unforgettable impression on us with your album, Dark Nights. You’ve nailed the darkwave pop aesthetic in spite of the genre-fluidity which permeates the 11 tracks. Who were your foundational influences for the album?

I am so happy you guys like the album. Musically it is a real gumbo. I definitely wasn’t trying to reinvent the wheel here but rather try to build a really cool car based on parts of the things I love personally.

I grew up during the late 90s rave scene, so The Crystal Method and The Chemical Brothers were an influence here. I was influenced by some of the more modern dark electronic artists like TR/ST and Anders Manga. In the industrial world, I was inspired by the fun experimentation of Raymond Watts and Pigface.

I probably listen to my Outlaw Country playlist every day so that poetic language really speaks to me specifically with artists like Waylon Jennings, Charlie Daniels, and Billy Joe Shaver. Dancehall artists like Patra along with early 2000’s rock artists like the Deftones had their influence as well.

What was the initial spark that led you to create ‘Dark Nights’, and how did the concept evolve from that first idea?

I always loved the idea of The Judgment Night soundtrack where hip-hop artists collaborated with metal bands. That soundtrack came out when I was 12 years old, and was probably my biggest influence in trying to bring musical worlds together as a whole.

I also love the concept behind UNKLE & Massive Attack with having a variety of singers on different tracks. I personally love listening to an album straight through. So each album I make is meant to flow from beginning to end. The overall “concept idea” is inspired by concept albums from classic rock.

Thematically I got the idea for the overall concept from the horror anthology series Tales From The Crypt. Even though every episode had different stories, actors, and sometimes directors, you could always tell that each episode was part of Tales From The Crypt. They all stood alone with individual storylines, but they still had something recognizable to tie them together with that show. And that’s what I wanted to do with this album. Create a musical Tales from The Crypt…lol.

How did your experiences in Queens during the early 2000s influence the sound and stories on this album?

During the early 2000s, I was in my own little musical world. All I really listened to was my own music that I would make on my keyboard. I honestly had no idea about what was going on in the outside world. So I love creating a little world of its own with each song and album that I create.

From 2001 to 2004, I probably made close to 1000 songs. Most were incomplete and just moods or melodies. When I stopped making music on my keyboard in 2004, it was the time in my life that I really got into researching other music. For nearly 20 years, I never did any type of artistic activity. I just listened and explored every genre and subgenre I could find.

I never planned on ever making music again until my wife convinced me to start releasing my old keyboard music during Covid. Things just happened and I started creating new music again in 2023. It is a combination of things that brings me to where I am today as an artist.

What role did live instrumentation play in the creation of Dark Nights, and how did it differ from your usual electronic production?

Live instrumentation really helped me take the songs to the next level. It definitely took my sound from being simply synth music to something a bit more elevated. I had a very ambitious vision of my mixing my synth drums with live drums as well as mixing all my layered synth sounds with live vocals and instruments. These things really make you appreciate the role of an engineer….lol. And I happened to be fortunate enough to work with Chris Conway who is an absolute master of his craft.

I don’t really know anything about musical theory, and I cannot read or write music either. So, working with live musicians really helps with my own limitations as an artist.

Could you give us an inside view into the production process behind one of the standout tracks on Dark Nights?

Sure, let’s talk about Club Hell. I started out wanting to make a simple fun dance song. Over time I added, changed, and edited the sounds until I had something that I liked.

I went back to it and thought, this really sounds like it is a club in hell. So, I started writing to it with that theme in mind. At first, I didn’t have a rap verse in mind. Then, I thought it could be cool to have something fun to break things up a bit. So, I created a rap verse section on the instrumental and wrote a verse for it. Something that was just meant to be fun, not analyzed.

Once the vocals were recorded, I still felt like something was missing. So I reached out to a bass player to give a really funky synth bass line. That was definitely inspired by Herbie Hancock. Once I had all my ingredients, I headed to the studio to give it a mix where Chris Conway helped me to find peace amongst the chaos of the song.

How do the lyrical themes of the album manifest in the instrumentation and production?

I usually start with the instrumental first. And eventually, something will click. I will hear a sound or there is something that brings a familiar memory. Just as a scent can kinda trigger something familiar. Once I get that familiar feeling, I will really get into character, and then the song comes together very quickly.

How do you think your musical identity as Jonny Rythmns during 2001-2004 contrasts or complements your current persona as Elevated Focusion?

As Jonny Rythmns, my music wasn’t really focused. My emotions were high but the music wasn’t really there yet. It was sloppy and wasn’t really mixed properly, but you can definitely feel the raw emotion that was going on at the time. However, the music was still very raw as well.

Elevated Focusion is the product of 20 years of exploring every artist of every single genre and subgenre I can find. The sound is more focused with the purpose of bringing together every musical influence I have experienced during my 20-year hiatus from making music combined with my own synth style that I developed during 2001 – 2004.

What do you hope your listeners will take away after listening to Dark Nights?

I honestly just hope that people enjoy the experience. I don’t claim to be the most technical musician out there. The only thing that I hope that someone would take from listening to ‘Dark Nights’ is that they enjoy it enough that they want to listen to it again.

How has the creation of Dark Nights influenced your thoughts on the future direction of your music?

I loved ‘Dark Nights’ but I’m ready to move on to the next concept. My next album is already recorded and ready for mixing, so I already know where I am heading…lol. It is somewhere completely than my first two albums. I don’t want to say too much, but I hope to release it next summer.

Stream Elevated Focusion’s discography on all major platforms via this link.

Interview by Amelia Vandergast

Jazz underpins electro-pop in NxC’s comeback track, Can’t Get You Out of My Head

Posted on 23 August 2024

From the province of Laguna, NxC, a dynamic pop duo, has re-emerged in the limelight with a comeback that dares to share a title with Kylie Minogue’s famed hit, Can’t Get You Out of My Head. It was a bold titular choice, but that’s nothing compared to the endlessly evolving innovation caged within the progressive anthem.

Nikki Culing and Cedric Patangan, who first harmonised in their high school choir and later in various local bands, entered uncharted territory with Can’t Get You Out of My Head which amalgamates the nostalgia of disco pop with the edge of synth sequences and the spontaneity of jazz, presenting a track as layered as their musical background.

After a brief hiatus after their initial single, Peach Fizz, NxC’s sound is more honed than ever. Their comeback initiates with a tease of classic house pop, swiftly morphing through a spectrum of sounds that defy simple categorisation. With Nikki’s euphorically infectious vocals and guitar alongside Cedric’s multifaceted mastery of keys and bass, the duo navigates through hyper-pop highs and rap-infused rhythms, making each transition a head-spinning hit of serotonin.

Every beat of Can’t Get You Out of My Head promises an adrenaline rush of sonic surprises – brace yourself before you hit play.

Can’t Get You Out of My Head hit the airwaves on August 10^th; stream the single on Spotify.

Review by Amelia Vandergast

Spotlight Feature: Embrace the Chaos with the Visceral Visualisation of Emotional Discord in Dilly Dally Alley’s Electro Jazz Pop Attack, This Just In

Posted on 23 August 2024

Fresh off the heels of their last single, Find Out, Minneapolis Indie-Pop jazz-adjacent collective, Dilly Dally Alley, led by the magnetic emissary of soul Sophia Spiegel, has unleashed their second single of the summer, This Just In.

Feeling deeply can often feel like a curse, yet, a proclivity towards heightened emotion only serves to sweeten the resonance in this incitement of an indie art pop riot, which feeds an abrasive electro pulse through John Carpenter-reminiscent synths, deliciously delirious reverb and distorted jazz-punk sax riffs capable of driving you to the brink of euphoria and beyond to experience a cathartic release from emotional turmoil.

The opening lyrics – “there was a sharpness in the land, sharpness in the beat, sharpness in your eyes, made me feel complete” – reflect the conflation of emotions and conflicts, perfectly matched by the avant-garde instrumentals that create a vivid, visceral, whirlwind of an experience which transcends sound.

You couldn’t ask for a more accurate mirror of the mental discordance that accompanies emotional dichotomies or for more blissful salvation from them.

This Just In will be available to stream on all major platforms, including Spotify, from August 23^rd, ahead of Dilly Dally Alley’s sophomore LP, which will permeate the airwaves in January 2025.

Stay up to date with the latest releases from Dilly Dally Alley on Facebook and Instagram.

Review by Amelia Vandergast

Older Posts