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A&R Factory interview with the man, the muso and the audio legend, Manuel Sanchez

Manuel Sanchez

Manuel Sanchez’s interview with A&R Factory explores into his profound connection with music. His narrative begins with the discovery of this deep-seated passion and traces through his scholarship at Berklee College of Music which marked a pivotal point in his artistic life. His artistic arc showcases an unyielding adherence to personal authenticity, a theme consistent throughout his career and particularly evident during the Berklee audition where he presented an original piece.

The interview touches upon the challenges and cultural shifts Sanchez faced, from moving to Boston to establishing himself in the competitive Los Angeles music scene. His role at Igloo Music, alongside his transition into producing his own music, highlights his evolution and the various facets of his musical and professional identity. 

Manuel Sanchez, welcome to A&R Factory! It’s a pleasure to sit down with you and discuss your storied career as an audio engineer and musician. To start, can you take us back to the moment when you discovered your passion for music? 

My passion for music began when I was just 9 years old and started taking guitar lessons. From the very first moment, I felt a deep connection with music. Despite my limited knowledge of music theory at the time, I always found a way to express myself through it, creating original pieces from the moment I started playing. This drive to express myself inspired me to continue studying, striving to improve and communicate my emotions even more effectively through music.

Earning a scholarship to Berklee College of Music is no small feat. How did the scholarship shape your approach to music?

When I received the scholarship, I felt vindicated—it reaffirmed my belief in trusting myself and in what music truly meant to me. Many people don’t know this, but I wasn’t accepted into one of the universities I applied to in Colombia. Their requirements were very strict; to be accepted, I had to perform a prepared piece that demonstrated technical ability in a specific genre—Jazz—which I wasn’t very familiar with at the time. As a result, I felt like I wasn’t good enough.

However, for my Berklee audition, I decided to stay true to myself. I played an original piece with a full band because I wanted to show the jury what music truly meant to me: a way to express myself. When I received the scholarship, I knew that trusting my vision and passion had been the right choice. Years later, I had the opportunity to meet one of the jury members from that audition, and she told me it was one of the best auditions she had ever seen. No one else had the idea, nor the boldness, to bring a full band into an audition to play an original piece.

How much of a culture shock was it to move from Bogotá to Boston for your scholarship?

Arriving in Boston was a big shock. Not only because I had to learn a whole new language but because It was the first time I was living by myself. The culture was different, the food, the weather. In Colombia, we don’t have winter so being -26°C (-14.8°F) is a challenge for me. But Berklee was an amazing place to start over. I had many friends that were international students as well and we all supported one another. It was very interesting to me how so many people from so many different countries could just get together and become friends. It really showed me that humans have the ability to get along no matter how different we think we are.

You have successfully integrated into the LA music scene, a pipedream for most, what has been your experience of the industry in LA?

LA can be a really tough city at first. I felt more lonely and stressed moving to LA than I did moving to Boston from another country. When I arrived in LA, I was on my own, without a car or a stable job. I took on numerous internships while working, and eventually, I found a place where I could grow.

Your work at Igloo Music, alongside industry giants like Gustavo Borner, has been a pivotal part of your journey. What have been some of the most impactful experiences working there?

Definitely, learning from more experienced people has been invaluable. Even though they were often busy with many responsibilities, they were always willing to help and teach. And then there’s the importance of making mistakes and improving from them. Don’t be afraid to fail—every failure is an opportunity to learn and grow.

You’ve contributed to over 100 projects, including high-profile productions like Money Heist: Korea and The Glory. Out of all these projects, which one do you feel was the most challenging or rewarding, and why?

One of the most challenging projects I worked on was Who Killed Him? for Amazon. This project was particularly demanding because it centered heavily on the actors’ incredible performances and artistic vision. We had to ensure that we preserved and enhanced the original intent, staying true to the creative direction while bringing out the best in every detail.

Your career spans various roles in audio engineering, from mixing to recording and dubbing. How do you approach each of these roles differently, and what do you enjoy most about the diversity in your work?

Being able to switch between different roles is something I’m very grateful for. Every time I spend a long time recording, for example, it’s nice to be able to transition to a different aspect of my profession and continue being creative. Each role is like a different hat or character I need to play, and with experience, you can switch between them more organically.

You’re on the verge of releasing your first single and have several exciting projects on the horizon. Can you share a bit about what we can expect from your music and these upcoming ventures?

I’m thrilled to finally release my music project. These songs have been in the making for years—some for over five years—so they’re deeply connected to my journey. They represent how I’ve perceived and experienced my path and evolution throughout this time.

Your story is one of perseverance, talent, and an unwavering commitment to your craft. For those who aspire to follow a similar path in music and audio engineering, what advice would you offer based on your experiences?

I advise staying true to who you are and what you genuinely want. Don’t be afraid to take risks and demonstrate your desire to grow and learn. Nowadays, society is like a loud playground where it’s easy to get lost. So take the time to focus on your inner voice and truly listen to what your heart wants. Be grateful for what you’ve achieved, as that gratitude will give you the strength and courage to keep moving forward.

Discover more about Manuel Sanchez via his official website.

Interview 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

Indie synths drive the soul in ‘Our Story’, the latest chapter in the organically originated artistry of iinz

‘Our Story’ is yet another chapter in the organically originated chronicle of the Alt-RnB trailblazer, iinz. With an innate ability to traverse the lesser-explored corners of RnB and the human experience alike, iinz introduces a fresh, experimental approach to her euphoniously stylised narratives.

Born from a visceral moment of heartbreak, Our Story is a profoundly personal vignette which epitomises the authentic and introspective essence of the independent artist. The single touches on how even if you share the most intimate parts of yourself, that doesn’t guarantee that you’ll share the same reality.

The loungey, pseudo-jazzy rhythms interspersed with indie synthwave touches create a lush, immersive soundscape which testifies to the nuanced sophistication within the artistry of iinz. Her collaboration with producer Taiina elevated the sonic complexity and evocative resonance to the nth degree.

With iinz on your playlists, you’re never short of a refuge of solace and understanding. The LA-hailing Israeli-American soulstress’ ability to find the alchemic intersections between old-school soul and alt-pop is beyond compare. Yet, there’s an aching sense that when it comes to iinz, expression will always be prioritised over competition.

Our Story will be officially released on July 19; stream the single on SoundCloud.

Review by Amelia Vandergast

Jazz Meets Dreamy RnB in No False Ego’s Irridescent Debut, We are the Soul

No False Ego came to iridescent light with their sublime-on-the-senses debut single, We are the Soul. The devilishly clever arcane reprise of “here we are” is the epitome of a statement of intent from the LA-based unreckonable outfit who, true to their name, riff, harmonise, and groove straight from the heart.

The track is an intoxicating blend of free-form jazz expressionism and dreamy RnB vocals, creating a sublime contrast that is as unpredictable as it is cathartically consuming. The time signatures pulse with an unpredictable fervour, giving the track a lively, spontaneous feel while the hazy-with-soul RnB vocals and loungey keys act as a pure, diaphonic anchor, grounding the listener in the midst of intuitively impromptu drum fills, warm yet wild sax lines, and chameleonic guitars which switch from chopping funk through the progressions to injecting nuances of indie blues rock.

No False Ego’s ability to weave together these diverse elements with superlative ease showcases their impressive musicianship and commitment to authenticity. Each component contributes to a cohesively rich soundscape which triumphs on a technical level while connecting with the listener emotionally.

Now they’ve made their introduction on the airwaves, it is time for No False Ego to hold soulful dominion over them; we can’t wait to watch their ascent.

We are the Soul is now available to stream on Spotify.

Review by Amelia Vandergast

Allen Green’s ‘P’s Up’ Is A Soulful Synthwave Journey Through Hip-Hop Nostalgia

Curating only the smoothest samples for his aural doorways into the exultation of hip-hop nostalgia, Allen Green’s harmony-driven approach to sample-based production has proven irresistible throughout his career which kicked off in 2023 with the mixtape 808 Soul, Vol. 1.

His latest lush with soul release, P’s Up, is an invitation to lose yourself in the tonal transcendence of his ingenuity. It’s a neon-lit euphoric hybrid of synthwave, soul, and hip-hop that temporally drifts through eras and styles, evoking sentimentality for each epoch while standing as a testament to Green’s ability to modernise retro rhythms while staying true to his LA roots.

With everyone from the Alchemist to DJ Jazzy Jeff to Barry White influencing his sonic signature which scribes through hazy synth hues and solid backbeats, you’d be more than hard-pressed to find an artist and producer more resolute in staying true to orchestrating originated syntheses that first and foremost strikes a chord within him and inevitably resonate with his ever-growing fanbase.

P’s Up was officially released on May 16; stream the single on Spotify.

Review by Amelia Vandergast

Jess Fuller lent her jazzy RnB etherealism to soulful realism in her post-breakup redemption arc, My Enemy

Jess Fuller’s seminal single, My Enemy, taken from her debut EP, Alchemy, unravels as a mesmerising blend of jazzy R&B grooves and soul-aching poetry. It’s a luxurious auditory journey, guided by Fuller’s smoky vocal timbre, her masterful command of the keyboard, and the equally as sharp command she holds over her audience as she keeps them captive to her luxe aura.

Fuller, a Los Angeles-based maestro of melody draws inspiration from eclectic influences like Hiatus Kaiyote and Stevie Wonder before crafting soundscapes that are as dreamy as they are grounded in soulful realism. The Jess Fuller Trio, with its rhythmic versatility, adds layers of depth to the track, making it resonate with anyone who’s ever navigated the turbulent waters of love and loss.

My Enemy delves into the complexities of affection turning into affliction. Fuller’s lyrics paint a vivid picture of the post-breakup journey. From the ashes of a relationship marred by control and power play to the triumphant stride into newfound independence and regained strength. The production is a cinematic masterpiece, directed by dreamy vox and catchy melodies. Yet, it is the fatalistic shots fired towards the protagonists who need to deplete your power to hold any of their own over you that become the defining feature of this scintillating redemption arc.

Stream the Alchemy EP by Jess Fuller in full via Spotify.

Review by Amelia Vandergast

Lana Oniel reached the pinnacle of cerebral electro-pop with her darkly ensnaring sophomore single, hypothalamus

After finding her fire in the City of Angels, Lana Oniel put the devil on her shoulder to release her darkly ensnaring sophomore single, hypothalamus, which reaches the pinnacle of cerebral electro-pop.

The moodily spectral release seductively defies the pop mould with a vocal delivery which finds a way to stylise histrionic eccentricity and a beat that consistently switches, never allowing you to feel complacent in the aesthetic. hypothalamus wasn’t orchestrated to entice you into comfort; Oniel efficaciously used her early years in musical theatre to confront her rapidly growing audience with an earworm which makes no bones about using its claws to sink into your synapses.

If you can imagine meeting Lady Gaga in a dark and nefarious dream soundtracked by Melleefresh and Chelsea Wolfe, you’ll get an idea of what awaits when you delve into this perfect follow-up to Oniel’s debut, Hard Just to Be.

Hypothalamus was officially released on November 2nd. Stream it on Spotify.

Review by Amelia Vandergast

Skinny G Radio’s latest hit ‘Whatcha Gonna Do?’ is a euphoric indie earworm worth tuning in for.

Skinny G Radio rode their authentic indie pop signature across the cosmos in the latest exuberantly sweet hit, Whatcha Gonna Do? The sugared-with-uninhibited passion vocal lines run in parallel to the experimental instrumentals which dabble in 80s new wave nostalgia while carrying the histrionic flair of a polyphonic pop opera. It is impossible not to get swept up by the soul in this loved-up hit that is potent enough to give even the most melancholic nihilists lust for life.

By taking influence from Billy Joel, Mark Ronson, and John Mayer and always staying true to his own rapturously distinctive style, the Connecticut-born & raised LA-based songwriter, producer, and performer is an unforgettable indie pop icon who is set to make major waves with the release of his sophomore LP, The Heightening, which is due for release in 2024. Whatcha Gonna Do is just a taste of what the rest of the presumably infectiously hook-y album will deliver.

Whatcha Gonna Do is due for release on November 10th; stream it on YouTube.

Review by Amelia Vandergast

From Tunisia to LA: Ines Belayouni Talks To Us About Her Journey to International Stardom

Ines Belayouni, the talented Tunisian singer, embarked on an extraordinary journey from Tunisia to Los Angeles to fulfil her musical dreams. With a deep love for Jazz and Arabic music, impressive collaborations, and a versatile language repertoire, Ines’s story showcases her unwavering determination to achieve international acclaim in the music industry. In this interview, we dive into her unique journey, exploring her musical influences and the pivotal moments that have shaped her career.

Can you tell us about your early musical influences and how your family instilled a love for Jazz and Arabic music in you?

My parents instilled the love of music since I was a toddler. My mother grew up in France, she used to play a lot of classical music and popular French songs from various artists such as Edith Piaf, Charles Aznavour, Jaques Brel and many more. My father on the other hand, loved Arabic Music specifically Egyptian, soon I found myself singing with him the songs he would play in the car and he noticed that I was learning fast and sang in tune. When it comes to Jazz music, both of my parents introduced me to it with artists such as  Armstrong, Miles Davis, Sinatra.

“Ijik el Khir” was a significant milestone in your career. How did the opportunity to collaborate with Sabry Mosbah on this track come about, and what impact did it have on your musical journey?

Following the Tunisian revolution that occurred in 2011, our country and us as citizens, experienced violent and scary events for a few months, that changed the course of history. Ijik El khir is the soundtrack of a documentary produced by Coca Cola. This Anthem is an invitation to all Tunisians to express the solidarity found in each of us, which was much needed following the state of turmoil the country was in, and to be reminded that we should remain United. The song was a success, touched many hearts, brought some joy amid the chaos, and for us as artists brought fame, and exposed us to a larger audience through radio and tv appearances.

You were part of the project “Imraa Wahida,” the Arabic version of the song “One Woman,” which was produced for UN Women. Can you share your experience working on this project and performing at the Cairo Opera House on International Women’s Day in 2014?

It was an incredible experience and a memory dear to my heart. I met wonderful and talented artists, singers, writers, producers and musicians. It was my first trip to Lebanon as well. A year later we had the opportunity to get together again and perform at Cairo Opera house. I remember vividly the night we performed, how proud we were to be part of such an amazing and powerful project that aimed to spread a message of unity and solidarity.

You’ve had the opportunity to perform at prestigious events and on various TV and radio shows in Tunisia. Can you share a memorable experience from one of these performances or interviews that had a significant impact on your career?

One of the most memorable experiences was performing at the American Embassy for Independence Day in July 2016. It was such an honor, especially having met The Ambassador of the United States appointed at that time, who gave me great advice, encouraged me to move to the US and aim for an international career. Another memorable event was when I sang the Tunisian National Anthem A cappella for Europe day, I was contacted by the ambassador of European Union appointed in Tunisia back then, who also gave me amazing opportunities and never seizes to encourage me throughout my career till this day. I remain deeply grateful for both of these honorable men, who trusted me as an artist and believed in my potential.

Moving to Los Angeles is a major step in your journey to become an internationally recognised artist. What prompted your decision to relocate, and how has this move influenced your musical career and style?

Tunisia provided a great underground scene for me to evolve as an artist and reinforced my will to pursue a career in singing, but I always wanted more. As being an artist in Tunisia is not easy, I felt stuck, especially when you prefer singing in English. I have always wanted to move to the United States, since my first trip ever, back in 2004. I never lost hope, I have always believed in myself and my potential and wanted to make this dream come true. I was aware of the hardship ahead of me but that did not scare me. I had to get out of this comfort zone I was in, to embrace this adventure. I don’t think there is a better place to do it than the United States, it is the land of opportunities, I feel respected as an artist. I simply feel in my element.

You’ve mentioned your versatility in singing in multiple languages. How do you approach adapting your musical style and expression when singing in different languages, and do you have a favourite language to perform in?

I grew up speaking Arabic and French, I learned how to sing Arabic music from a very young age. Later on when I heard Whitney Houston, I fell in love with her voice and knew at that moment that I wanted to mostly sing in English. I have always been extremely curious of other cultures and languages. When I hear a song that I like, I will be wanting to sing it, thus adding Spanish and Italian to my repertoire. When singing in different languages, I make sure I understand the song even though I don’t speak the language to be able to convey emotions. Understanding the words you are singing is very important.

Could you share some insights into your current and upcoming projects? What can your fans expect from you in the near future as you continue to pursue your musical dreams in Los Angeles?

Last April, I released the first single of an upcoming Ep. The song is entitled “Attention” it is a pop rnb anthem that my producer Jamelle Adisa and I have worked on and co-wrote. We released a music video on YouTube and the song is available on all platforms. We recorded a few other songs and will be ready to release the EP by December hopefully. As I speak fluent Arabic and French I believe in music fusion, I am proud of where I come from and I consider myself lucky to be diverse and to be able to add a taste of my culture in the music I work on. Stay tuned!

For more information on Ines Belayouni visit her website.

 

WD-HAN drove their listeners towards progressive action and revolution in ‘Something’s Gotta Change’

In this year alone the LA-hailing rock outfit, WD-HAN, has riffed right across the rock spectrum with their diverse discography. With their latest single, Something’s Gotta Change, the chameleonic powerhouse turned their vitriol towards political punk-rock to deliver a viscerally empowering hit. If any single has what it takes to spark an anarchist revolution, it’s Something’s Gotta Change.

Starting the hit with the sobering fact that more people are enslaved today than ever in history was an efficacious way for WD-HAN to drive their listener’s compulsions toward progressive action. The collective rise in individualism and apathy created the perfect storm for oppression; we’ve sat back and watched how the marginalised have been attacked – it is only a matter of time before injustice meets everyone who can’t afford to escape into space.

Believing that the issue of human trafficking deserves attention resulted in the release of one of the most impactful anthems we’ve heard this year. The track was created in support of the Foundation for a Slavery-Free World and Operation Underground Railroad. 

Something’s Gotta Change was officially released on August 11th; stream it on SoundCloud.

Review by Amelia Vandergast