Browsing Tag

Interview

A&R Factory Looked Behind the Veil of Master Splinter’s Latest Single, Ronin

Posted on 29 February 2024

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.

–

Master Splinter, welcome to A&R Factory! We’ve loved getting acquainted through your eclectically eccentric discography and can’t wait to hear more about your upcoming release which is due to hit the airwaves on the 1st of March. What can your growing fanbase expect? 

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.

Can you share with us the initial spark or moment that led to the creation of this song?

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.

The narrative in your upcoming track is layered with metaphors and fantasy elements. How do these creative choices reflect the emotional and personal journey you’ve undergone from 2020 to 2023?

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.

How cathartic was the writing and recording process? 

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.

How does the song fit in with the rest of your releases, and what sets it apart from the previous singles? 

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.

Given the emotional weight of the single, are you anxious about how it will be received or stoked for it to be finally out there? 

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.

For your new listeners, how would you sum up the vibe of Master Splinter, and what is the dynamic & ethos of your band? 

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

With such a deeply personal and artistically significant release on the horizon, what are your aspirations for this song and the future of Master Splinter? 

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.

–

Stream Master Splinter’s latest single, Ronin (Cross the Sea) on Spotify from March 1st.

Interview by Amelia Vandergast

In Tune with Matt Camillo: An A&R Factory Exclusive Interview

Posted on 21 February 2024

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.

–

Matt Camillo, welcome to A&R Factory! We’d love to know a little more about your latest single, Stop to Look Around, what’s the story behind the single, and what do you hope listeners will take from it? 

“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.”

Is Stop to Look Around reflective of who you are as an artist or are there more multi-faceted sides that will become exposed in your future releases?  

“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.”

When did you get into music, and how has your relationship with music changed since the creative spark first ignited your desire to create? 

 “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.”

With such a wide range of influences, was it hard to create your own sonic signature? 

“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.”

What was the first and last single that had a profound impact on you? 

“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.”

Where will your artistic journey take you next?  

“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.”

If you could make one positive change with your music, what would it be? 

“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.”

–

Stream Matt Camillo’s latest single, Stop to Look Around, on Spotify.

Interview by Amelia Vandergast

I AM Cricchi shared how he became a conduit of hope through his eclectically authentic discography in an exclusive interview with A&R Factory

Posted on 10 February 2024

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.

–

I AM Cricchi, welcome to A&R Factory! We’d love to know a little more about your most recent release, Weighted To Breathe featuring Caskey. What’s the story behind the single?

“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!!”

Your upcoming project, The Road Back, talks about overcoming addiction; can you tell us more about the project and the inspiration behind the release?

“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.”

How do your most recent releases compare to your past projects like; No Time, Runnin A Lot, I Gotta Grow, and Say Less Do More?

“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.”

How did you get into music, and where has your creative journey taken you?

“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.”

What role has the indie label The Lotto Tribe played in your career?

“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!”

Which artists inspire you the most, and is there anything else that inspires you to create?

“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.”

Can you tell us a little about your global distribution deal with Memphis’ Select-O-Hits? and being attached to The Orchard?

“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!”

What else is in the pipeline for you?

“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

Isla de Luca: Crafting Sonic Alchemy with ‘I already am one’

Posted on 2 February 2024

Step into the enchanting universe of Isla de Luca, the rising (alt-)pop luminary from the heart of NYC. As they prepare to unleash their debut single, “i already am one,” on February 16th, Isla takes us on a spellbinding journey, intertwining Y2K sleaze, Pop Rock, and a fearless exploration of cultural dynamics. In this exclusive interview, we unravel the layers of their musical tapestry, exploring the vibrant nuances and unapologetic persona that defines their sonic realm.

Your upcoming single, “i already am one,” weaves together Y2K sleaze, Pop Rock, and cultural dialogues. Can you delve into the artistic alchemy behind this fusion and how it encapsulates your vision for the track?

The fusion of Y2K sleaze and Pop Rock in “i already am one” is a deliberate choice to evoke nostalgia while engaging with contemporary themes. The Y2K sleaze brings a sense of bold, unapologetic fun and freedom, reminiscent of the music I grew up loving. The Rock element adds an edge and depth, grounding the track in a sound that’s both familiar and fresh. It also reflects another core inspiration for this song– the whole glamorization of the “rockstar’s girlfriend” aesthetic, which I wanted to comment on.The cultural dialogues woven throughout the song reflect my interest in ongoing societal discussions about femininity, empowerment, and the breaking of conventional norms. This fusion is my artistic signature, encapsulating a vision that’s both reflective and forward-looking, inviting listeners to explore the complexities of identity and empowerment with me.

The persona you adopt in your songs is that of a hedonistic, ultra-confident, maybe-evil siren. What led you to embody this character, and how does it contribute to the overall narrative and atmosphere of your music?

Embodying this persona is a way for me to explore and express power dynamics, allure, and autonomy in a hyperbolized form. She allows me to navigate through themes of empowerment, desire, and rebellion against societal norms in a theatrical and immersive manner. It contributes to the overall narrative and atmosphere of my music by providing a lens through which listeners can question and redefine their perceptions of femininity, strength, and independence. It’s a reflection of my innermost fantasies and a critique of the roles traditionally assigned to women, serving as a vehicle for listeners to engage with deeper themes under the guise of entertainment.

“I already am one” draws inspiration from Cher’s empowering response to societal expectations. Could you expand on the influence of Cher in your work and how their bold spirit shapes your perspective on femininity and unconventional relationships within your music?

Cher’s spirit resonates with my perspective on femininity and unconventional relationships, inspiring me to craft music that challenges the norm, celebrates individuality, and encourages listeners to embrace their own power and autonomy. “Mom, I am a rich man,” is a rallying cry for self-sufficiency and breaking free from the confines of traditional roles. Her ability to navigate the entertainment industry on her own terms, constantly reinventing herself while staying true to her essence, mirrors the journey I aspire to take my listeners on—where the exploration of identity is boundless and the celebration of your truth is paramount.

In “i already am one,” you incorporate elements from the cultural conversations about femininity and unconventional relationships. How do these themes resonate in your personal experiences, and what do you hope listeners take away from the intersection of your artistry and these societal discussions within your music?

These themes are deeply personal, reflecting my own navigation through the expectations and constraints placed upon femininity and relationships. It’s like my diary, a peek into my world of wrestling with the “shoulds” and “musts” of femininity and love. They’re conversations set to melody, inviting you to see the world through my eyes, even if just for a song. It’s been a journey of self-love, coming out, and embracing the beauty in the unexpected. My music is my megaphone, hoping to echo the thoughts and struggles of many, offering a beat to dance to when the world feels a bit too heavy.

Your music is often described as a journey within itself. How do you go about creating this immersive experience for your audience, and what key emotions or themes do you hope they absorb from the sonic odyssey of “I already am one”?

Crafting “i already am one” was like building a world from scratch—a place where every note, every beat, and every word invites you into a story. It’s all about setting the scene for an adventure in empowerment, discovery, and the sheer thrill of breaking free. I wanted every listener to feel wrapped in a sound that not only moves but speaks, urging them to find their own rhythm in the chaos of life.

Find out more here.

A Deep Dive into Dom Ultra’s Sonic World

Posted on 1 February 2024

Embark on a journey through the musical cosmos as we dive into the creative mind of Dom Ultra, the visionary artist behind the upcoming album. From inspirations to production insights, we unravel the mysteries behind the beats that define his unique sound.

Your music has a distinctive and captivating sound. Can you share some of the key inspirations that fueled the creation of your upcoming album, offering listeners a glimpse into the creativity at play?

I would definitely say that I feel like the music I wear my inspirations on my sleeve. Im a big Bon Iver and Kanye guy. But my favorite rappers are like Roc Marciano, Earl Sweatshirt, Theravada. People like that. I really enjoy the alternative scene. Especially like the Folk and electronic scene. I like James Blake a lot. I just sample the stuff I like for the most part.

Crafting an album is a labor of love. Could you shed some light on how long it took to bring this project to life and the artistic process involved in its creation?

It took about two years technically. But realistically since i started because I was tryna just find a unique style and sound. It really came together during a dark time. I was listening to my old demos and I found an album in that. Most of it at least.

Speaking of singles, could you walk us through the ones that have already been released and provide a sneak peek into what listeners can expect from those yet to come?

I just released a single called DAYSINBOSTON. It’s a lot of that kind of stuff. Folk and Rap. Just another alternative rap album basically.

Your previous EP ‘Ill get to you later’ showcased a unique sonic identity. How does the upcoming album build upon or diverge from the themes explored in your last EP, and what can fans anticipate in terms of musical evolution?

If you heard the last song Southside, I really delved further into those kinds of sounds. Just a more polished version you could say. My raps are a little different now as well. Different stories I want to tell.

Can you take us behind the scenes and share some details about the production process, collaborations, or unique techniques that contributed to the distinctive sound of this  upcoming album?

I have been clearing samples and getting the last touches done on the album. We’re almost there! I didn’t do a lot. I just used what I had. Next album I wanna do more around samples and try experimenting more on the next. But this album here is my healing journey so I hope it can relate to people in a similar way.

Find out more here

Interview | Revelations and Resurrections: Giant Killers Unleash ‘Songs for the Small Places’

Posted on 25 January 2024
Songs for the Small Places by Giant Killers

Diving into the indie pop scene with a nostalgic twist, Giant Killers, are set to release their long-awaited debut album, “Songs for the Small Places.” Originally crafted in the mid-’90s, this collection is finally seeing the light of day, packed with melodic tunes infused with a gritty lyricism and a nod to the iconic sounds of the ’90s. In this exclusive interview with Mike and Jamie, we unravel the journey behind the album’s resurrection, the band’s experiences, and their enduring influence on the music scene.

Your debut album, “Songs for the Small Places,” is a long-awaited gem that was originally intended to be released in the ’90s. Can you share the story behind the resurrection of this album and how it feels to finally bring it to the audience after nearly three decades?

M: For a long time, we considered ourselves to have been ground up by the Music Industry mill – we spent the entirety of our late teens and throughout our twenties in the back of a van, on the road, and in studios – we started our own label, then went on to have not just one but two major record and publishing deals in that period. Ultimately, we got unceremoniously dumped out of the business, essentially for not selling enough units. This was in an era with an unrecognisably different business model to that which exists today – back then, the expectation for any artist on a major label was to sell 100s of 000s of physical product in their first releases.

J: This whipping away of the carpet beneath our dreams triggered a period of reflection and re-evaluation, and inevitably disillusion. We changed our dreams, had lives outside of those narrow ambitions, had kids etc, in one sense we forgot about those older songs, even though we wrote many more new ones…

M: But this time just for the sheer pleasure of it, for the joy of creation. It was after a friend asked us to reunite Giant Killers for a birthday gig  in Leeds that we were reminded of the power of those old songs when we played them live again.  That was when we thought, hmmm… maybe it’s time to do something about this – to bring us to where we are now…

J: And we’re very excited to see how these songs will be received. But as we say in one of these songs, we’re older and wiser now, so  we’re  managing our expectations – our history in the business has imbued us with a deep layer of realism.

The ’90s sound is a significant influence on your music, and it’s making a strong comeback in today’s music scene. How do you see your sound fitting into the current musical landscape, and what elements from that era do you think still resonate with listeners today?

M: Undoubtedly, the present-day music scene, and to large extents, current fashion trends are skewed heavily to the 90s, but we wouldn’t say we are attempting to fit in with that. We’re big believers in the power of the song – the words, the melody and its combined emotive pull should rise above the way the song is produced, whatever producer, production techniques and technology were fashionable at the time a song was written or recorded.

J: Sure, the sound may reflect an identifiable era, but we truly believe a good song will always be recognised as that. We think the messages in the album, what the songs are about, and the melodies that deliver the emotive pull are universal and timeless; but we don’t want anyone to take our word for it. All we want, all we’re hopeful for, that these songs will reach the ears of the discerning listener and be given a fair chance to be loved, or otherwise, on their artistic and creative merit alone.

Your history includes opening for Blur and touring with Dr Robert and Nick Heyward. How have these experiences shaped your musical journey, and do you have any standout moments or lessons learned from sharing stages with such iconic artists?

M: Don’t trust them! Blur nicked our original keyboard player after we opened for them at a gig on Cleethorpes Pier as part of their Country House tour. A very talented musician called Diana Gutkind, who went on to tour the world with Damon and co for many years – I guess it was a valid career choice, so we don’t blame her, or Blur!

J: We also toured with Squeeze which was fantastic because we considered Difford & Tilbrook as the best song writing partnership since Lennon & McCartney. We once opened for Motown legend Edwin Starr, bizarrely with a whole host of boy bands; we also shared a stage with Boyzone at a Capital Radio Roadshow at Chessington World of Adventure!

M: This latter experience at the hilariously un-rock n roll backdrop of a theme park gave rise to a rude awakening: Our record label sent a Limo to take us to the show – the one and only time that happened to us. When we arrived at the back of the compound to slowly drive into the backstage area, it was full of screaming teens, who saw the Limo with its blacked-out windows and drew the conclusion that Boyzone were inside. It turned into pure chaos as fans started prostrating themselves on the bonnet and the roof of the motor. We got to appreciate, all be it very briefly and under false pretences, what it was like to be the subject of mass adulation…

J: But then we had to get out of the Limo! When we did, the deafening roar turned instantly to pin-drop silence, and after a couple of seconds, as we stood looking at the gathered multitude and they at us, a lone, adolescent voice enquired… who the f**k is that!?  From such experiences it’s tempting to say we’ve learned valuable lessons in the art of live performance, and in the craft of song writing. That is true to some degree, but our biggest lesson has been in the cultivation of the quality of resilience.

The decision to donate a portion of Bandcamp sales to the Campaign Against Living Miserably is commendable. Can you elaborate on why this cause is significant to you, and how do you believe music can contribute to raising awareness and supporting important social issues?

M: In Brighton where I live, there seems to be a lot of young bands willing to stand up for good causes and to write about them in their work. There’s a great club night I’ve been to a couple of times called Agitation; it’s at the locally revered Green Door Store, and I’ve seen amazing young bands such as The Damn Shebang, and the fabulously named Joe Perfect and the Champagne Socialists giving their time and energy to raise money to help striking nurses with their food bills, or helping catering industry workers campaign for a decent wage. In my formative years there were campaigning movements such as Rock Against Racism and Red Wedge, in which mainstream bands were politically engaged, but that fell away for some time. I’d like to think we’re seeing a re-emergence of that kind of thing, perhaps as a response to the difficult times we’re living through.

As far as mental health goes, like CALM, we’re against living miserably – poor mental health is often an unwanted bedfellow with creative people. Look at the very public developments last year with Lewis Capaldi for instance. If people who need help, don’t get the right signposting, advice, or counselling, then that is potentially fatal. You know, 1 in 5 of us will harbour suicidal thoughts over the course of a lifetime – CALM is getting that fact out into the open, to destigmatise the conversation around suicide so that we can all talk about this at a societal level. Everyone should support that ambition.

With a diverse background that includes Glastonbury and Proms in the Park, what unique aspects do each of these musical experiences bring to your artistic expression, and how do they contribute to the rich tapestry of Giant Killers’ musical journey?

J: In one sense, they are a validation, because they are the sorts of experiences that you dream about at the outset of your journey as a musician, but at the same time, we didn’t do either as the headline act, but as jobbing musicians. For Glastonbury, we were both part of a dirty jazz, swing, big band collective called The Kingsize Five – as such we weren’t playing the Pyramid Stage but a collection of smaller stages there – multiple gigs over the course of the festival in both 2008 and 2009. So, while we didn’t get helicoptered into the backstage enclosure, we did stay in artists camping and got to use the open air jacuzzi they have in there (yep, its true), every night.

M: Proms in the Park is a great case study in the life of a jobbing musician and its pertinent to the tribute scene – which gets a lot of stick from so called serious musos, but the scene has undoubtedly kept the wolf from the door for a lot of talented musicians who may otherwise have starved! I opened as the sax player for the heavy gigging Madness tribute band, One Step Behind. We were the warm-up for Lionel Richie when he headlined Proms in the Park in Hyde Park – I think this was 2009. As we were on early around 530pm I wasn’t expecting a full house, but when I walked out there where 55,000 very enthusiastic people in front of that stage.

J: There’s a fabulous little story from when Mike was using the backstage gents, when who should join him at the adjacent urinal than the great man himself…

M: Ha yes, to break the silence, I made an enquiry as to which song Lionel would be starting his set with. When the former Commodore replied with his own question – what would you recommend, I made a lame attempt at wittiness with an observation that Dancing on the Ceiling should perhaps be avoided given it was an open air gig. Lionel left without saying a word, shaking his head as he retreated to his green room.

J: These experiences are a case of so near yet so far in terms of what our musical dreams were at the outset, versus what they actually where in real life. But it’s all an opportunity to grow as a musician, a songwriter and a human being!

M: Ha ha… maybe!

Support Giant Killers on Bandcamp here.

Interview | Unveiling Venerate: A Deep Dive into Riven By Ravens’ Debut Album

Posted on 23 January 2024

As anticipation builds for the release of Riven By Ravens’ debut 14-song album, “Venerate,” we had the privilege to catch up with the band’s founding members. With a musical journey that spans decades and influences ranging from Tool to A Perfect Circle, the California-based hard rock duo shares insights into the creation of their progressive masterpiece and the driving forces behind their musical endeavour.

Can you take us through the journey of creating your debut album, “Venerate”? How did the concept and theme evolve throughout the songwriting process?

I’ve been making and playing music since I was 5 years old, and I have to say that creating this album was one of the most memorable experiences of my life.  “Venerate,” may very well be the most interesting and beautiful piece of music and art I have been a part of so far.   Brian and I are so incredibly proud and excited to share this album with the world.

 What started as simply recording a song together instantly became a massive 14 song concept album and a full band.  There was something so exciting and special in the studio when we recorded that first song.  We both knew that we were at the start of something unique and we just let it unfold.  Having a history in our previous band, Ghost Army, we had a foundation of riffs and ideas that gave us a nice template to work off.  We spent the better part of a year and a half writing, recording, and mixing our music in our Visalia home studio.

Brian and I share a very similar drive and passion for creating music, so the writing and the recording came very organically.  We have really good communication with each other and very comfortably feed off each other’s ideas.  As we got deeper and deeper into the recording process things began to get more and more creative and the pieces of the album seemed to just naturally fall into place.  The album concepts began to explore a variety of things including personal relationships, traumas, pain, loss, death, respect, the media and even government corruption. Both of us write and perform from a place of extreme passion, more than any sort of technical standpoint.  So, in some way we just let the music send us in different directions.  By the time we finished the entire album it had taken on its own strong personality and presence.

Your music is described as a blend of progressive rock with melodic metal tendencies. How did your shared influences from bands like Tool, Architects, and Deftones shape the unique sound of Riven By Ravens?

I feel like that’s a great description of our sound.  We are super heavily influenced by metal and hard rock but we are not a metal band.  I don’t even consider myself a metal drummer.  I’m much more like a Abe Cunningham style of player than a Tomas Haake.  Brians vocal style has an interesting range of heavy screams to super clean melodic tones.  Representative of our favorite bands and influences like Tool and Deftones.  I think we touch in the prog side of the realm with our songs averaging around 5-7 minutes and having some very different structures and odd rhythms.  I think as musicians and music listeners we grew up with these bands being extremely influential on us developing as players and writers.  Then there’s a point in your music endeavors where you step away from those influences and develop your own sound and image.  I think we have achieved that with this project.

What drives Riven By Ravens to continue making music, especially considering your extensive experience in the industry? Are there particular themes or experiences that serve as a wellspring of inspiration for your creative process?

Being a musician can sometimes be a very odd thing.  There’s this deep, primal urge to create stuff with little expectations.  Creating music and playing live is so therapeutic for us.  It’s the most comfortable way to really express how we feel. The drive to continue making music has never really been a question, it just changes form as we get older and have families and kids and different lives.  Being a musician and a drummer has always been something that just makes sense to me.    Life can be so complex and generally can be very difficult, but music has always been such a constant and grounding thing for us both.  It’s so personal.  I think the drive to be in a band is different though and it really comes down to the right mindset and the right players around you.  I think what made this album so special was that Brian and I have the same understanding of this concept, so we were able to be very vulnerable and confident at the same time to create this music.  Also, I think at the end of the day there is an addiction to the process of writing, recording and then performing.  It’s just a satisfying procedure to repeat.  So, as we continue to live and have experiences it’s easy to continue to have the drive to keep making music with new ideas and concepts.

Having been former, founding members of Ghost Army, how did the collaboration between you, Brian and Paul, lead to the formation of Riven By Ravens? Were there specific musical goals or ideas that sparked this new venture?

Back in 2020, Ghost Army had just performed for the second time ever live at Ace of Spades in Sacramento for a sold-out crowd of 1,000 people.  Then the Pandemic hit and shut down all our shows.  Like many bands, this difficult time caused us to ultimately part ways.  After the smoke cleared, a few years later Brian and I got together and created Riven By Ravens.   It felt much more like the evolution of where Ghost Army needed to go more than a new project. Being that there was just the two of us we started the project as just a recording project but quickly realized it was a living, breathing band.   From the beginning we developed a much more serious plan and idea as to what we wanted to try and achieve with this project.  We recorded the entire record ourselves playing all the instruments.  Brian mixed and mastered the entire record.  We both share the same goal with this project which is to create music we feel proud of and inspired by as well as to share it with as many people as we can around the world.

How do you perceive the current state of the music industry, and in what ways do you think people’s consumption of music has changed since your earlier years as musicians? How does Riven By Ravens adapt to these changes?

I think there are many new shifts happening in the industry. It can be such a vile, dark, corrupt place.  It’s very easy to get sidetracked and feel hopeless and endlessly defeated in a massively oversaturated market of fame hungry hollow humans with zero attention spans.  Overrun by rich suites and sleazy club owners with zero artistic credibility taking all the authenticity out of the bands and bleeding them dry.  I think sadly for most bands touring has become a luxury that just isn’t financially available anymore.  As the digital platforms take all the band’s profits and venues continue to take higher and higher percentages from bands merch, more and more bands will just stop touring. People just don’t really value music like they used to.  They feel entitled to it for free.

I think on a positive note people are starting to miss tangible albums and art and it’s circling back.  Brian and I come from the 90’s generation of music consumers that waited in line at a record store to buy a new album and physical tickets to shows.  There’s a very important relationship that is built when people physically buy and get a actual product like a vinyl record or cd and really absorb the art work and think about what the band is saying and showing you.  It builds this real connection with the band and the music listener.  I think that’s something we lost over the years with digital media and hopefully will get back again.  There’s a ton of good music and bands out there but if the industry doesn’t make some major shifts soon to actually support these artist things will just keep crumbling.

Find out more about Riven By Ravens here.

Interview | Navigating Nostalgia: A Musical Journey with Lotta St Joan

Posted on 23 January 2024

Dive into the sonic realm of Lotta St Joan’s latest release, “Once,” as we explore the intricate blend of nostalgic folk vibes and modern pop structures. In this interview, we’ll unravel the self-reflective lyrics and cinematic orchestration behind the song, shedding light on the artist’s unique musical perspective.

Your song ‘Once’ beautifully combines elements of vintage folk and modern pop. How did you conceptualize this distinctive blend, and what inspired the incorporation of Golden Age Hollywood orchestration into the track?

I wrote the song as a pretty classic folk song, just the guitar and voice. But it immediately felt like it was asking for more than a normal folky tune – it was demanding more intricate and lush arrangements. It went through many stages, was recorded many times and once Cameron, my producer, came up with the string arrangements and the trumpet melody, it felt like the song had been served. 

The lyrics of ‘Once’ reveal a self-reflective narrative about navigating a destructive lifestyle after a relationship breakdown. Can you share more about the personal experiences or emotions that fuelled the creation of this song?

As all songs it’s a photograph of my inner life at a certain moment in time. I remember sitting in my room on a winter afternoon and the song was written very quickly. One of those ones that feel right instantly with music and lyrics coming together very easily. I wouldn’t be able to add more about what I was feeling at the time, I am hopeful one might understand when listening to the tune.

The horn solo in ‘Once’ takes listeners on a journey reminiscent of 60s Arabian cinema. What led you to include this unique musical element, and how do you feel it enhances the overall emotional impact of the song?

Funny that you ask about the horn solo, it’s actually a trumpet, but it was originally a horn in the compositional phase. Milad Khawam, who plays the part, used a trumpet with an especially deep and full tone, which puts it more into the horn frequencies and just felt very fitting. In the original demo there was a heavily distorted guitar solo there but after we put in the string trio we knew the song needed something else. This part of the song had become this soaring orchestral score and the horn gave it the right blend of solace and euphoria needed to rise above the grandiose backdrop of the rest of the orchestra.

The song has been described as a potential festival closing anthem. How do you envision your audience connecting with the emotional nuances of ‘Once’ in a live setting, and what elements do you believe make it a powerful performance piece?

Whenever I play live, this is one of the songs that the audience wants to talk about after. It has a certain pop appeal and the chorus seems to get stuck in peoples heads.  I think the overall sentiment of the song is also very relatable to people – I am happy whenever someone tells me so. 

Beyond the music, we’re curious about your journey as an artist. Can you share a pivotal moment or experience that has significantly influenced your career?

What influences my career most significantly are the people around me who support me. Most importantly my producer Cameron James Laing, who runs a recording studio in Berlin called The Famous Gold Watch. It’s home to many folk artists here, not only for recording purposes but also for finding community –  a musical home. Right at the start of my career, around four years ago, when I first stepped foot into this place I experienced an abundance of support and passion for my music which has made a huge impact on me. I recorded my second album ‘Song for the Undecided’ with Cameron, which will be released on March 22nd 2024.

Find out more here.

Interview | Dejai Unleashed: Igniting the Hip-Hop Scene with Authenticity

Posted on 18 January 2024

In the pulsating realm of hip-hop, Dejai emerges as a force to be reckoned with, bringing a unique blend of authenticity and passion to the stage. In this exclusive interview, we delve into the artist’s upbringing, the sparks that ignited their musical journey, and the driving forces behind their relentless pursuit of innovation in the industry.

In the pulsating realm of hip-hop, Dejai emerges as a force to be reckoned with, bringing a unique blend of authenticity and passion to the stage. In this exclusive interview, we delve into the artist’s upbringing, the sparks that ignited their musical journey, and the driving forces behind their relentless pursuit of innovation in the industry.

Can you share a bit about your upbringing and how it shaped your musical journey?

I spent a significant portion of my adolescence in a small town in Arkansas—a place where everyone knows everyone, and for generations, few manage to break free. Limited by both resources and entertainment options, my sister and I found joy in making the most of what we had. Raised by my grandmother, who had a deep connection to church and gospel, Sundays were filled with hymns that showcased her angelic voice. Inspired by her, I aspired to sing like her.

Alongside gospel, my sister and I explored various musical genres, delving into old jams from artists like Backstreet Boys, Eartha Kitt, Ella Fitzgerald, and Mahalia Jackson. Our musical taste was eclectic, and we paid careful attention to the lyrics. Meanwhile, my father, a talented musician himself, produced, wrote, and recorded his own music. He exposed me to a diverse range of sounds.

A pivotal moment in my musical journey occurred when my aunt Monica gifted me my first mp3 player for Christmas. Loaded with a variety of songs by my father, my attention shifted towards rap and R&B. Artists like 2Pac, Jay-Z, and Outkast became my new musical companions.

Music became my primary mode of communication and a means to connect with others. This profound connection, along with a desire for expression, fueled my passion for music. Motivated by a longing to break free from my small-town roots, I aimed to become someone who defied the odds. My goal is not just personal success; it’s about achieving something monumental leaving a lasting impact from where I come from, and eventually returning to rebuild my entire state on a grand scale.

What initially sparked your interest in music, and how did you find your way into the hip-hop scene?

I’ve had interest in hip hop specifically since the first time I had a whole catalogue of hip hop songs at my finger tips on my first mp3 player. From there I’ve always played with the idea of what if I can really be a rapper and do this for real. I really gave it a long thought the first time I heard a song by j.cole called “show me something” and I was like yeah I want to reach the people the same way he does. It didn’t happen until years later, but I created my first album at my home studio and released it because of that.

What motivates you to continue pursuing music today, and can you tell us about your most recent/upcoming projects?

What keeps me motivated to keep pursing my craft even when I feel like I’ve hit a wall is the thought of “what if” so many people burn out their flame early on because they face setbacks when trying to pursue their dreams then quit. Then later on in life they’re plagued with that “what if” and “where would I be” question. I don’t want to feel like that now or ever. I want to know that I gave it my all and if it just wasn’t meant to be it wasn’t on me it’s just that’s the way the universe intended it to be. As of right now I’m working on a mixtape called “The Greatest Yet” which is intended to be released on all major platforms in late March. I’m always taking my time because I always want what I put out to be great.

In your recent releases like “Wild Fire” and “All On Me,” we’ve seen a dynamic range in your style. How do these tracks represent your artistic evolution?

I think it shows a more vulnerable side of me which I struggled with when I initially started making music. I feel like I could always make “at your neck” music filled with word play and bars like battle rap but I couldn’t really comfortably put anything out that I actually exposed my feelings about things going on in my personal life. That kind of music is important because people relate to that.

What sets you apart from other artists in the hip-hop scene, and how do you believe your music contributes to the current hip-hop politics?

I care about how the things I say may impact people, especially people that look like me. The hip hop I fell in love with is no longer here, there is a whole new era and that’s fine, but I just want people to feel something when they hear my music. I’m not just making music to make noise and throw syllables together because they rhyme. I’m not here just focused on the revenue and just to sell the people something I’m here to make a difference. Everything is not always about turning up I got to provide a little bit of everything but more than anything my music needs to feel like a warm embrace of understanding for all kinds of people.

Considering the impact of music on the youth today, how do you think artists can do better, and what role do you see yourself playing in this responsibility?

I think we need to understand as artist we influence the masses with the things we say and we need to act as a beacon of light not darkness. It’s one thing to tell your story in your music but we need to stray away from glorifying certain topics and normalizing negative behaviour because we’re all someone’s role model. By encouraging certain actives and behaviours as an artist you’re painting a young minds canvas and distorting their image before they even get a chance to see the beauty in their canvas. I touch on that frequently in the music I make to try bringing awareness to the discussion.

Find out more about Dejai here

Crafting Beats and Carving Paths: An Exclusive Conversation with The Blaqsmith

Posted on 9 January 2024

In the dynamic realm of Hip-Hop, some artists stand out not just for their beats but for the unique journey they embark upon. Tha Blaqsmith, a trailblazer since 2011, entered the musical scene with no formal composing background but armed with an unparalleled willpower and a penchant for vinyl records and drum breaks. Several releases down the road, he continues to infuse the new generation of Hip-Hop with his essential raw, dope, and chill essence. Join us as we delve into his journey, upcoming releases, inspirations, and an exploration of his impressive discography.

Your journey in music began in 2011. How did you navigate the initial challenges of entering the industry with no formal composing experience, and what motivated you to pursue a career in Hip-Hop?

I just learned and observed a lot of knowledge from reading and watching interviews on hip-hop greats. Google and YouTube was my actual mentors for music. I always had a knack for putting different sounds together, but I never played or used an instrument in my life. And living with my mom and my brother, we were lower middle-class people that often times could afford things but we didn’t at times especially when it comes to music equipment. And growing up, I never had an instrument. I will always make beats with my mouth or my hands Once I had my hands on a drum machine. It was a wrap. Having a drum machine motivated me to do this. The process of making a beat from scratch in your own creation, fascinate me.

With several releases under your belt, including “THE PATH TO SUCCESSION” and “The Last Days EP,” can you share some insights into the themes and inspirations behind these projects? How has your artistic vision evolved over the course of your discography?

The Path to Succession is basically whatever path that you’re on, don’t ever give up on that path because you never know, you might be closer than you think. So I tried my best to make certain instrumental beats that give you that motivated vibe to keep going forward. The Last Days, is  whatever you’re doing in life, doesn’t matter what your profession, as long as you give it a 100% on it, even if it’s your last day on this earth.. my idea for the album was to be more precise and discipline instrumental album. I have a certain vision for my albums, because nowadays it’s not a lot of content with music, it’s just a lot of music with no meaning so I try to keep a good content with it to give the audience.

What upcoming releases can fans anticipate from The Blaqsmith, and can you provide a glimpse into the creative process or themes we might expect in your future projects?

I have a few upcoming releases coming out in 2024. I have a Beattape coming out pretty soon called “LOOPMANIA” just basically an instrumental album full of reoccurring loop instrumentals. Most likely it will be a series of LOOPMANIA going forward. I have a few remixes beat tapes in the works and more collaborations as well.

In the ever-evolving landscape of Hip-Hop, who or what are some of your primary inspirations? How do you incorporate these influences into your work while maintaining your distinct musical identity?

J Dilla is my all-time inspiration, but I have some on Honorary inspirations like, 9th Wonder, The Alchemist, Timberland, Dr. Dre. I’m a hip-hop head so I know what those guys bring to the table. I’ve always love that gritty, eerie underground, smooth sound. Those vibes are immaculate and that’s why I like implementing that into my sound.

Your discography reflects a range of collaborations and projects. Could you shed light on any particular collaborations or associations that have significantly impacted your artistic journey? How do these collaborations contribute to the growth of The Blaqsmith as an artist?

I did an EP with an artist from the inland empire and my closest friend “El Fuggins”. He’s very talented. Raps, sings, direct. At first, it was a little difficult to mesh with him but after a while, he motivated me to think outside the box, in the area where I was accustomed to. The name of the EP is called “Heel Turn” Heel is a term for a wrestler when he becomes a bad guy. “Babyface” is a term good guy. So we made this EP not only because we’re wrestling fans but to shed light on the comparison between wrestlers and musicians. There are so many musicians, releasing good music, that it never has the good following or fan base to support it and the artist normally goes rogue or gives up on the art. I typically don’t want to give up. Lol. The whole album process made me think more creatively and to be more unique around making beats and I like being challenged in those moments. Not only I learn, but I also evolve, musically.

Find out more about The Blaqsmith here.