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LA producer

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

Carey Clayton rebooted retrofuturism with the seraphic synths in his latest single, Future in a Past Life

Carey Clayton brought the sound, synths and soul of the 80s to their latest in a long line of seminal singles, Future in a Past Life, while etching into the nostalgic hallmarks with his indelibly scintillating sonic signature which scribes beyond contemporary trends.

The title alone is enough to spark a profound meditation on its poetic meaning; when you sink into the release, you’ll start to swim in the temperate, tonally seraphic spectres of reflection, artfully amalgamated by the LA songwriter, producer, composer and multi-instrumentalist, who has become revered for his stylistically expansive body of work.

Future in a Past Life, caged within his third LP, Headless, may be composed of different aural anatomy from his previous releases, but fans who came to adore Clayton for his past work will find their appreciation for the visionary renewed by the sense of spirituality which drifts between the instrumentals in the polished production.

Clearly still humble after his music being sought after by Netflix, NBC, ABC and the Tribeca Film Festival, Clayton synthesised straight from the soul with Future in a Past Life, which fuses the arcane emotive air of Cigarettes After Sex with the kicks and grooves of Django Django.

Future in a Past Life was officially released on July 19th; stream the single on Spotify now.

Review by Amelia Vandergast

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

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

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

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

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

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

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

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

Review by Amelia Vandergast

Def Ember synthesised the future into retro melodies in their expansively fusionistic track, Quiddity

Def Ember’s latest seminal release, ‘Quiddity‘, from their double A-side single established the aural alchemist as a forerunner of genre-obliterating innovation. Released on January 26th, this track is a bold venture into unchartered melodic waters. Known for their genre-fluid approach, the Los Angeles-based artist ensured ‘Quiddity’ stands out with its warm meandering rhythms that guide listeners through a serenely dynamic soundscape.

The track skillfully balances a solid, kicking backbeat with mellifluous synth lines and soulfully arresting guitar licks, creating a mesmerising contrast that you can lose yourself in time after time without any of the magic in the polished production getting lost. While the synths bring a touch of nostalgia, the other layers in this smorgasbord of style push the release into the future.

The layered synthetics add depth and complexity without overwhelming the rhythmic pulses, thanks to the track’s meticulous construction and sci-fi-esque ambience. It’s a track that doesn’t just play to the ears but engages the soul, marking an exciting chapter in the artist’s evolving musical journey.

Stream the latest release from Def Ember on Spotify now.

Review by Amelia Vandergast

IDN synthesised an electrifying electronica hybrid in his sophomore LP, Voyager

IDN’s LP “Voyager” is an electrifying escapade into a realm where electronica melds with a kaleidoscope of genres. Each of the 14 tracks on this LP is a crucial fragment of an intricate cosmic voyage, transcending the norms of conventional electronica with audacious flair.

IDN, an LA-based queer Iranian-American polymath, infuses his diverse inspirations – from video games to sci-fi and psychedelia – into a groundbreaking sound. This LP is a unified interstellar journey, which pulses with life, intertwining industrial, dub, and psytrance into a hybrid tapestry of sound.

The genius of “Voyager” lies in its seamless blend of hi-fi sophistication and lo-fi rawness. This juxtaposition creates a soundscape that feels both futuristic and deeply rooted. With glitchy breakbeats and dub-infused electronic twists leading the listener through a labyrinth of auditory discovery, you will want to grab your passport to the 5th dimension before delving in.

The Voyager LP landed on January 12; embark on it via Spotify.

Review by Amelia Vandergast

Revel in the petrichor of Shaun Cruda’s electro-soul synthesis, Ashville Rain

Shaun Cruda’s 20k monthly Spotify listeners got a brand-new stylistic soundscape to savour when the LA producer delivered his latest sensuously cathartic single, Ashville Rain, on September 22.

As the dark days creep in, the sanctuary of ethereal luxe atmosphere in Ashville Rain will only become more inviting. By borrowing a few trip-hop elements from the pioneers and modernising them in his synthesis of electro-soul, there are few better singles to revel in the petrichor with.

The instrumentals resound beyond their minimalist quiescence to deliver the ultimate playlist staple for nocturnal introspection while the vocals breed a beguiling sense of intimacy as they harmonise the lyricism that narrates a spectral love letter. Familiar, yet far beyond the bars set by his contemporaries, the single is a testament to the multi-faceted talents of the artist who can pen a track as well as he can polish it and move a dancefloor from behind a DJ booth.

Stream Ashville Rain on Spotify now.

Review by Amelia Vandergast

Dig your way into a dystopic landscape with the dark hazy beats in Snakes of Russia’s single, Tunnel

Taken from the original soundtrack from the film, A Brush with Violence, the reworked iteration of Tunnel by the alt-electro producer, Snakes of Russia, is a harbingering descent through droningly dark synth lines and dystopically hazy laments, fed through the unpredictably rhythmic downtempo percussion.

Ambient and arrestingly alluring – to those who find comfort in the obscure – in equal measure, Tunnel is an ambient Avant-Garde work that you will want to burrow into time and time again for the way it paints light tones to cast shadows on the progressions. After all, no tale of horror can be told without holding a candle to humanity and the collective fears that show how precious our mortality is despite our nihilistic inclinations.

Stream Tunnel on Spotify now.

Review by Amelia Vandergast

Skinny G Radio reached the pinnacle of existential humour with his alt-electro hit, Unplug Me!

Unplug Me! is just one of the eccentrically disarming alt-electronica singles found on Skinny G Radio’s funky 8-Bit album, The Heightening. The tongue-in-cheek exposition on the perils of social media in the age when fear and hate are relentlessly pushed to keep us transfixed to platforms is an all too efficacious reminder that we should consume media not the other way around.

Instead of letting the doom and gloom from the lyrical messaging control the track, the LA artist and producer utilises his on-brand sense of existential humour to give back some of the serotonin stripped by doom-scrolling. The playful polyphonic synth sequences make delving back in for repeat listens all too tempting. Can someone protect Skinny G Radio at all costs, please? He’s ingeniously precious.

Unplug Me! is now available to stream on Spotify.

Connect with Skinny G Radio on Twitter & Instagram.

Review by Amelia Vandergast

David Deutsch has unlocked the gateway to visceral repose, Free Shavocado

LA independent artist and composer David Deutsch has scored original music for films, TV, video games and VR interactive programs. Most notably, he scored for the film Last Survivors and contributed to The Suicide Squad, The Invisible Man, The Kingsman, and the Emmy-nominated series, Hostile Planet.

Now, he’s here with his serenely explorative release, Free Shavocado. The evocative work shimmers with sonic beguile as it leads you through the gentle yet dramatic orchestral crescendos and synth sequencing your rhythmic pulses won’t be able to resist enmeshing with.

With the Gospel-esque non-lexical vocals sporadically appearing to swathe the soundscape with surges of heart-quickening soul, Free Shavocado is a transcendental corridor to serenity and visceral repose.

Free Shavocado, taken from David Deutsch’s EP, Prism, is now available to stream on Spotify.

Review by Amelia Vandergast

Thomas Eggensberger explores the ‘Forgotten Universe’ in his latest cinematic score.

LA-based German composer, orchestrator and songwriter Thomas Eggensberger has composed for film, television, concert music and collaborative art; his accolades are endless and his latest score, ‘Forgotten Universe’, is sure to earn him plenty more.

Forgotten Universe exhibits all of the hallmarks of talent that you would expect from an artist that has toured globally and worked with high-profile names, including Wayne Sharp, Tom Howe and plenty more. But the emotion that bleeds from the wavering orchestral strings in the cinematically profound instrumental score is anything but predictable. The composer made light work of ensuring that by the time you reach the end of this bitter-sweet serenade, your rhythmic pulses will feel at a loss with the silence that follows.

Forgotten Universe is now available to stream via YouTube.

Connect with Thomas Eggensberger via Facebook and Instagram.

Review by Amelia Vandergast