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

Posted on 2 October 2024
Elevated Focusion

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Interview by Amelia Vandergast

Spotlight Feature: Will Sync injected depth into Deep House with his EDM club anthem, Take a Shot

Posted on 16 September 2024

With his latest hit, Take a Shot, Will Sync went beyond riding the waves of Deep House; he went against the current to emerge as an unreckonable force in the genre in the same sonically hedonic vein as David Guetta and Calvin Harris.

The UK-based EDM producer dropped a bomb of a track that takes all the familiar elements of the genre and fuses them with something undeniably more. From the first beat, the track hits hard with its signature bassline, drawing you into its relentless energy. Yet, it’s the layered textures that push Take a Shot to the forefront of the EDM scene, injecting a refreshing depth into deep house that will undoubtedly command the dancefloor.

Co-produced with Paul Stanborough, Take a Shot balances a unique vocal contrast that elevates the overall intensity of the song. The interplay between ethereal female vocals and the deeper, darker male vocals brings a fierce dynamic to the track. It’s a combination that pulls listeners into a world of feverish euphoria, while the tight production keeps the tension simmering just below the surface.

If you’re sick of hearing EDM heavy-hitters and chart pop hits on the dancefloor, lock into how he synthesises deep house with more mainstream dance elements to build a sound that is as focused on creating a danceable groove as it is on capturing a sense of reality—something Sync believes the club scene has been missing. It’s a move that’s already paying off, as evidenced by his rising star status, recognition from major names in the industry, and his growing catalogue of hits.

Stream Take a Shot on all major platforms, including Spotify.

Review by Amelia Vandergast

Steve Schuster – Mercy Me: A Melodic Rock Vision of a Better Future

Posted on 20 August 2024

Steve Schuster’s latest single, Mercy Me, is a melodic throwback to the college radio rock era which carries a revolutionary message of peace and democracy. Amidst the backdrop of increasingly extremist ideologies that surface with each election, Schuster offers a refreshing perspective. Through mellow guitar tones and layered vocal harmonies, he paints a picture of an alternative way to live—one rooted in seeking and creating peace.

Mercy Me is a utopia you can nestle into and be reminded that hope has never been futile. While it may be harder to find optimism within the divisions of society, as Schuster attests, a better way, where peace and democracy are the pillars of civility, isn’t out of the realm of possibility.

The tenderly assuring earworm stands as a testament to Schuster’s ability to tune into societal struggles and offer a salve through his melodically mellow art. It’s a song that doesn’t just evoke nostalgia but also inspires a vision of a future where unity and compassion prevail over division.

The award-winning songwriter, celebrated photographer, and seasoned CEO of Rainier Communication has turned his passion for social justice into a lifelong mission, Mercy Me is an affecting continuation of his unflinching determination to help others envision and materialise a better way of living.

Stream the official music video for Mercy Me on YouTube now

Review by Amelia Vandergast

Behind the Beats: Cloud Ray on Music, Tours, and “Drip”

Posted on 17 June 2024

In this interview, A&R Factory welcomes Cloud Ray, a Hip Hop and Pop artist from New Jersey, USA, known for his innovative blend of genres and energetic performances. Cloud Ray discusses his new track “Drip,” his musical influences, and how his sound has evolved over the years. From early inspirations like Usher and Nicki Minaj to performing at major festivals and embarking on international tours, Cloud Ray shares insights into his creative process, collaborations, and what fans can expect from his live shows.

Cloud Ray, welcome to A&R Factory. Before we get into your red-hot new track, Drip, could you share your sonic origin story?

Hello A&R Factory, thank you so much for welcoming me to your platform! I am a Hip Hop & Pop Artist from New Jersey, USA and I have been creating music as ‘Cloud Ray’ for the past 4 years now. Artists like The Black Eyed Peas, Usher, Nicki Minaj, Ludacris, and J. Cole who have inspired big changes in the music landscape and the music industry continue to inspire me.

My music definitely has hints of all the aforementioned artists but I try to always retain originality in what I do by breaking down genre barriers while still paying my respects to those who came before me. Growing up being surrounded by many different genres and styles of artistry, I was able to choose from a collective of my favorite genres and mash them together in a way that felt distinctive to me and who I am as an artist. My very first release, ‘Urban City Elegance’ garnered over 1 million streaming listeners and the music builds on that every day.

What were some of the early influences that shaped your sound?

 Some of the early influences that shaped my sound came from artists like Usher, Kanye West, and even Nicki Minaj. Hip Hop served as an outlet for me to express my feelings as well as a place for me to expand on my creativity. These artists always bring a unique sonic package that stamps many of their records as timeless hits. The Black Eyed Peas introduced me to a blend of Hip Hop, Pop, and EDM that really set a foundation in the music industry for my music to even be possible and accepted. I was always a fan of the way EDM music had a party vibe to it. I love when you can go somewhere and feel a collective uplift in energy and excitement. For me, I found that going to roller skating rinks, carnivals, amusement parks, and even nightclubs, where this music was often played, locked in core memories for me. As an artist, I knew that I wanted to give back the same feelings and experiences that both Hip Hop and Pop music have offered me throughout my life.

Where has your music taken you so far?

I have been truly blessed to see where my music could take me. In 2023, my music took me on a 4 month US tour to many of the major cities where people were listening to my songs. Most recently, I embarked on a new US tour that started in February 2024 to target cities I have previously been to as well as cities that I haven’t. I also ventured overseas for the first ever time in my career to Europe where I performed in multiple countries including France and England. I have made it to major award shows like the BET Awards and The Grammys as well as many festivals including A3C Festival, Rolling Loud, and SXSW.

How has your sound evolved since your debut? Can you describe some key milestones which have defined who you are as an artist today?

This is a great question. My sound has evolved in such a way that makes me feel closer to finding freedom in whatever genre I do while my voice and approach are still identifiable as Cloud Ray. I think through new experiences and an ever-evolving soundscape, change is inevitable. With this freedom, I can always deliver something fresh and exciting. I am also able to explore my cultural roots as well as collaborate with other talented artists. Some of the key milestones that have defined me as an artist today come from my sound evolving. ‘Burn It Down’ turns the heat up for the summer while shining a light on my Caribbean roots whereas my latest single ‘We Need’ showcases the more vulnerable side of me that I don’t share that deeply too often.

How did your collab with Tati Dior come about, and what was the creative process behind Drip?

The collaboration with Tati Dior came together when I was searching for the right female to put on the track. I remember my team suggesting that we pitch the song to her and when they reached out to her she responded that she loved the track and was all in. When I found out that she was going to be on the record, I was beyond excited. I knew that she would bring the level of professionalism, quality, enthusiasm and creative style to this record that only she could bring. This record was originally meant to be a part of ‘Urban City Elegance’ which was released in 2021 but it was eventually decided that it would be better as a standalone single. While that EP showcased songs about heartbreak and healing, ‘Drip’ was written about female empowerment and luxury living. In 2024, it’s such a great feeling to have this song finally be released with the best feature on it.

Are there any upcoming shows your fans should look forward to? What can your fans expect when they see you on stage?

Yes! I will be performing in San Diego on June 21st and then Los Angeles on June 22nd. Currently I am on a US tour until November and more dates will be announced soon. More information regarding my upcoming shows can be found on Spotify, www.cloudraymusic.com/events or by searching ‘Cloud Ray’ on Songkick or Bandsintown. When you see a live Cloud Ray performance, you can expect a high energy, crowd participation moments, and connectivity. I typically have merchandise for sale at my shows and sometimes you might get a sneak peek into what’s next from me.

What’s next for Cloud Ray?

New content is always on the way and I am currently working on a few collaborations with some very talented artists! I am currently on tour with new dates and cities being announced soon. I have a major announcement in September that I cannot wait to share but you’ll have to stay tuned to find out what it is. You can find me on all socials @cloudraymusic so tap in with me!

A&R Factory, I want to thank you again for interviewing me today and giving me the opportunity to step into the spotlight of your world for a brief moment. I want to thank all the readers tuned in for your continued support and I look forward to the next time that I get to talk to you. Stay blessed, stay lit, and one love.

–

Discover more about Cloud Ray via his official website.

Interview by Amelia Vandergast

Interview with ARCTISKY: Exploring Love, Sound Evolution, and Musical Heritage

Posted on 15 June 2024

This week, ARCTISKY sat down with A&R Factory to discuss his latest single, “Unreal Love,” a narrative about the complexity of chemical romance and the importance of self-awareness in relationships. In this interview, ARCTISKY delves into his creative process, the instrumental choices that evoke euphoria, and the evolution of his music since his debut. He also shares insights into his journey from the Maldives to Melbourne, the influences behind his genre-fluid sound, and his ultimate artistic goals.

ARCTISKY, welcome to A&R Factory! Thanks for sitting down with us to discuss your latest single, Unreal Love. What does the single, which narrates a tale of chemical romance, mean to you personally?

Thank you for having me! ‘Unreal Love’ happens to be a confusing tale about an intense romance being ignited while two people find love in a super-charged ‘situationship’. The message is like, “Make sure you both know there could be other factors driving the whole interaction.” It’s about being aware of yourself and taking time away from other influences before wasting anyone’s time.

How did you manage to capture the euphoria of love in the instrumentals and production? 

This track is one of those tracks that stayed in the cocoon stage until I was ready skill-wise to bring it up to speed. Ever since my last release, I really took the time to come up with a sound that truly captures all of my core musical influences. With this one, I believe the live upright piano sounds did the final bit of work in bringing this song to the finish line. Initially, I had a very thin-sounding piano sound, which was fine when I was just writing other instrumentation around it, but it still didn’t give that fuller feel I was looking for. So, later on, I decided to record an upright piano with a pair of AKG c414s, with the help of a couple of my peers. That was the final ingredient to this sound I’d say.

I had written the synth parts years ago, in the early stages of the song, so those spacey-arpeggiator sounds at the back were another factor in capturing that euphoric feeling. I tried to stay true to the sounds that evoked euphoria in me as well. It’s still got that core element of rock & roll, but then those influences from other areas weave through. So this song evolved through quite a few stages to achieve the sounds I was after. I’d say it also had a lot to do with being surrounded by the right people who helped nurture my craft.

How do you want your fans to feel when they hear the single and what do you want them to take away from the lyrics? 

Well, the song is kind of like an unspoken conversation between you and that person you found some sort of crazy love with in the heat of a moment. It doesn’t have to be anyone specific either. It’s just one of those tracks that will help people come to terms with the fact that it’s better to let go by connecting to a song, rather than trying to reach out to an old flame. Never a good idea!

It’s been a while since you made your debut with Losing My Control in 2022; how has the break influenced your music? 

I think I realised I had a bit of work to do to bring my writing to something I was happy with. So, for me, it was more about going back to the sounds that felt most natural to me. That’s actually the main reason why I named this album ‘Roots Vol. 1’ – due to it paying homage to my musical heritage, being the classic rock & roll I grew up with. Unreal Love is the first track from this album and showcases this new sound I’ve been working with the best.

All the songs that will be on this album are what I call “journal songs” – they’re songs that hold more to the lyrical content, and have something listeners can take away and project onto their own experiences. It’s nothing more than a bit of art you may or may not be able to relate to. This stuff is written for the introverted side of people. I know I’ve heard those songs, where I listened to it and the music just helped me come to terms with things I had no idea was bugging me in the first place. Music does such a good job of healing people. I wanted to write some music that could help my audience shed light on some of the things they may be dealing with.

This new sound, with the foundation of rock & roll and the blend of fresh sub-genres, is what I got out of my creative break. This project just feels very fun for me! I’m not taking myself too seriously I’d say. I put a lot of trust into giving this another go, knowing I’m writing and releasing music that I loved writing and enjoy listening to.

You gained a fair amount of notoriety in the Maldives, has establishing yourself in Melbourne been a daunting experience?

I’ve been very lucky to learn and work with some extremely cool people since moving to Melbourne in 2019. I got here and realised I had neglected a lot of important theory, growing up as a drummer, so I had a lot to catch up on. I wanted to make sure I understood music to a certain level before trying to enter the live scene here. I’ve certainly had a bit of work to do to polish my craft before starting live gigs. Melbourne’s already got such a vibrant live music scene, so I want to make sure that what I’m bringing to the table here is going to be something a bit different and adds value. I needed to know that if I were to do live gigs, there were no loose ends in the songs. I want my live performances to bring a high level of energy to the venues here, and I needed time to develop my live-act. Live gigs are something I’ve really had to physically and mentally prepare myself for.

How did your genre-fluid sonic signature come about? 

I grew up with brothers who loved rock music, so it was playing around the house most of the time as a kid. I always heard a lot of Bob Dylan, Santana, Bon Jovi, Bob Marley and all that. Then I discovered Pink Floyd around the age of 18. They have the kind of music that helps you open doors in the back of your mind. Around the time I started this project, I was listening to a lot of Bob Dylan and the ‘Exodus’ record by Bob Marley & the Wailers. They inspired me to get my own messages of love, peace and freedom out with my music – to the individual and to societies. Especially ever since the wars have become a lot more frequent on the news, I wanted to get my message out with these songs. It turned out that when I was writing these “journal songs”, I always wrote music that I felt reflected love, peace and togetherness – “Lead with love and respect,” being the core message. It’s come with trying to strike that chord which resonates with our innate instinct to come together, and to work together and learn from each other.

What is your ultimate goal as an artist? 

My ultimate goal as an artist is to bring my work and artistry to a stage where I can start collaborating with more artists, and to just keep writing and recording music I’m proud of. I want to have songs that my audience can listen to and connect deeply to. I feel like a lot of what I’m hoping to get out of this ‘Roots Vol. 1’ record is to find a true audience that I can take on a new musical journey away from my current sonic blend. Music is such a subjective experience just like any art form. I feel like creating the best art you can do with your abilities and putting it out there is necessary if you have a message that’s greater than what you want to achieve sound-wise. I feel like I’ve been fiddling around with this sound for a while now, but I’m happy knowing this blend was authentic to who I was throughout the writing and recording process. My goal is to story-tell and share some of my crazy experiences with my listeners so that they too can feel and experience those moments. I feel like all my music will have that unique element of ‘me’ in it.

My message is to stay true to yourself no matter what kind of inner demons you may be battling. If you’re still in the thick of that period of your life, I hope some of these tracks I’m putting out can lend a hand.

Listen to Unreal Love now on SoundCloud; find more ways to connect with ARCTISKY via his official website.

Interview by Amelia Vandergast

Journey into the Abyss: An Interview with Elias Caldwell on ‘The Ruination of Yggdrasil’

Posted on 28 May 2024

Immerse yourself in the dark, thought-provoking world of Elias Caldwell as he unveils the intricate layers of his latest album, The Ruination of Yggdrasil. In this exclusive interview, Caldwell discusses his transition from childhood influences and industrial roots to the haunting realm of ambient doom metal. Grappling with themes of nuclear desolation, existential angst, and the shattering of ancient myths, he provides a raw, unfiltered look at his creative process and philosophical musings. Dive deep into the abyss with Caldwell as he explores music as a conduit for reflection and resilience.

Elias Caldwell, welcome to A&R Factory! We’d love to dig into your album, The Ruination of Yggdrasil, what’s the concept of the LP? 

So, to touch on the concept behind ‘The Ruination of Yggdrasil’, first we need to touch on the concept of ‘Desolation of Sludge’. ‘TROY’ is more of a sequel in my mind. ‘Desolation of Sludge’ was about our inevitable nuclear armageddon and the lives of those affected by it, the survivors. Imagine living through an event like global nuclear war. Your death is not assured but your misery is assured. I think it’s safe to say many people would rather die immediately than have to pick up the pieces.

Thats where we pick up The Ruination of Yggdrasil in grappling with the existential questions that follow, the knowing of the poisoned well. Let’s take a look at what Yggdrasil represents in Norse mythology for a moment. We know it as “The Tree of Life”, which in and of itself is a metaphor for our ecosystem and our ability to use the land as a place to reproduce and continue on our species. Not just our own but every species. Although, in Norse mythology, it went much deeper. Yggdrasil to them was a far more metaphysical construct. You can think of it as the fabric that connects all the planes of existence from Midgard (Earth) to Valhalla to Nilheim the one constant, or the highway between these realms was Yggdrasil.

So, What does it mean for such a fundament, a vital underpinning of everything, to be ruined? The Ruination of Yggdrasil. Not only does it mean it is impossible to continue on our life cycle in any meaningful way but it also means a separation from our collective knowledge, tradition, connection to our ancestors, everything. Can you imagine a worse tragedy? Can you imagine living through this hellscape? Knowing it is all for nothing yet carrying on ever stronger.

How did ambient doom metal become a conduit of your creativity? 

So, onto how I got into making this kind of music in the first place. I have been playing music for 22 of my 32 years alive. My father gave me my first guitar, which I still have, when I was 10 years old. I grew up watching him play. He was always in bands or recording music while I grew up with him. The main band that comes to mind is Scar Tissue, they were heavily influential in the industrial music scene in the Bay Area in the ’90s. I have been making music and learning my craft slowly, playing in bands myself, but mainly working on my own music. I have always been a big metalhead even though that wasn’t the music I was making. I was introduced to the idea of Stoner Metal by a friend of mine, I had always thought of it in a different way, I guess. Hearing  Monolord’s ‘Empress Rising’ was a big spark of inspiration for me, that’s when I started work on ‘Desolation of Sludge’. That’s pretty much how I started work in this genre.

How do you want your listeners to feel when immersing themselves in the cinematic tour de force? 

How I want people to feel? I want people to look inwardly; self-reflection and mindfulness are key, I think. This music has been designed to subliminally lull you into a flow state. I listen to it in my headphones at work all the time. It helps me slip out of my conscious thoughts of practical things, like what am I going to eat for lunch and more into meditation on more abstract things like geopolitics and conservation. I like to ruminate on history, I think about the great losses of life and liberty and how the world we take for granted has not been this way for very long at all. It would be all too easy for our system to slip back into totalitarian despotism- just like the majority of history. I do not allow myself the luxury of self-pity. Think of all the senseless loss of life going back to time immemorial and even to this very day. We primitive creatures only respond to violence or the threat of violence and all our power struggles are just attempts to consolidate the monopoly on violence. I have it really good compared to the majority of humans who have lived. I refuse to become complacent in this comfortable existence, as it could all too easily return to the status quo of brutality.

Would it be fair to say that you approach your music in quite a cerebral manner? 

  Do I approach my music in a cerebral way? Not while I am making it initially, later in a project’s life cycle I’ll get a bit headier with it but to start it is just raw emotion. I come home from work hot and sweaty, listening to metal all day, I turn on my amps and grab one of my stable of guitars and play really loudly. I record everything I play. I capture all my moments of improvisation. Once I have recorded a bunch of takes, I walk away. Only weeks later do I go back to an individual project (usually I’ll have recorded 20 or so of these sessions by this time). I’ll go back to listen and pick out which ones I like enough to try and edit down into a song. I work slowly I think but everyone tells me I go too fast; I’m working on that. I try to spend really short amounts of time working on any one piece, I like getting fresh perspectives on my tracks so I’ll listen to them on an assortment of speakers before I make too many changes.

What was the most gratifying part of creating the album? 

The most gratifying part of creating an album? I probably have the most fun actually playing the guitar and bass parts. I actually am starting to enjoy singing too, I used to dislike it. I like to leave my studio powered up on a Friday night so after a night of partying and gaming, drinking, smoking or whatever, I will come back into the studio nice and loose, grab a guitar and lay down a killer lead part without having to turn on a bunch of gear and queue up a project. Just have all that ready so when inspiration strikes, I can hit record.

What is the motivation behind your creative ambitions? 

My motivation? This is easy. The music. People have it all backwards in this industry. They look and see what people like, they say “Oh, I can make that sound then I can play shows with other people who sound like that maybe become a famous rockstar and get rich” I’m not interested in that whatsoever. I do not want any sort of undue attention to myself personally I don’t care if other people like the music even. I make music that I want to hear so that I can listen to it. I hear all these bands I love and I just think about mixing and mashing elements like a DJ. I don’t have turntables, I have guitars. Money does not factor in at all for me. When I hear that someone is an artist I immediately think, “Oh someone who has no money” and that is me, a starving artist. When a band does well and they make it big and get the record deals over and over the music goes to crap. All the rawness and emotion are gone leaving something sterile. I want my music to be a fertile ground for inspiration and emotion. If you feel something, anything, it was all worth it.

What’s next for Elias Caldwell?

What’s next? I am going to keep making more off-the-wall concept albums. I don’t know where I’m going thematically yet, but I’m recording some really heavy guitar parts this week so I think the next one is going to be even better.

Thanks so much for this opportunity for me to talk about my music, it’s kind of heavy doing all this in a vacuum.

–

Listen to ‘The Ruination of Yggdrasil’ on Spotify and follow the creative journey of Elias Caldwell on Facebook.

Interview by Amelia Vandergast

Demmy Sober x Blkswn x PMP – Practice: A Vapoursoul Voyage in Alt-RnB

Posted on 7 March 2024

The Belgian-American singer, Demmy Sober’s latest single, ‘Practice’, featuring Blkswn and produced by PMP, is a mesmerising journey through the heart of alternative R&B and vaporsoul.

The track is a lush landscape of moody synths that cohesively contrast with her ethereally celestial vocal lines which harmonically glide over the trap beats and pulsating progressions, creating an atmosphere thick with reverb and emotion.

Following in the footsteps of The Weeknd, Demmy Sober steps out from any shadows to shine in her own right. Her demurely sensual vocal touch and the intimate, relatable lyrics speak of being a work in progress, something that everyone can relate to on some level.

The single is a testament to Demmy Sober’s evolution as an artist and storyteller, as she prepares to release her album, a project teeming with collaborations and rich in the essence of alternative R&B and vaporsoul.

With achievements like securing spots in Beatport’s TOP 50 Worldwide and iTunes Spain’s top 10, Demmy Sober is no stranger to success. Practice is a continuation of this journey and a track that will undoubtedly resonate with fans and critics alike, marking another milestone in her impressive career.

Practice will hit all major streaming platforms on March 7th; stream the single on SoundCloud.

Review by Amelia Vandergast

Take a seat in Astrels’ latest alternatively soulful synthscape, Kings Table

Posted on 10 December 2023

Kings Table, a standout track from Astrels’ LP The Velvet Sea and the Afterglow, showcases a masterful blend of style and influence, marking it as a significant entry into the world of alternative electronica.

The single begins with an introduction that subtly nods to Grandaddy, skilfully weaving echoes of classic rock elements into a modern synthscape. As the track progresses, it transforms into a soulful orchestration, reminiscent of the emotional depth and vocal prowess of artists like Seal. This transition showcases Astrels’ versatility and their ability to evoke a sense of nostalgia while remaining firmly rooted in contemporary sound.

Astrels’ talent for creating a progressive and dynamic sonic journey is evident throughout the Tour De Force which reflects a deep understanding of musical structure and progression, moving seamlessly from one theme to another while maintaining a cohesive overall sound.

As the track builds towards its climax, it incorporates trance-like elements of EBM, infusing the composition with a rhythmic energy that is both dance-worthy and emotionally engaging. The fusion of melodic and rhythmic elements ensures that Kings Table is not just a song to be heard but an experience to be felt, making it a standout addition to any electronic soul playlist.

The debut LP, from which Kings Table is taken, continues the spiritual and electrifying journey that Astrels began with their debut EP, Metropolis Psychosis. Take a deep dive, you won’t regret it.

Take a seat at the Kings Table on Spotify.

Review by Amelia Vandergast

OTH€LLO Delivered Sonics for the Soul with His Smooth and Sensual LP, Miss Mayotte

Posted on 24 November 2023

In the ever-evolving realm of modern hip-hop and afro-fusion, OTH€LLO emerges as an icon of raw individualism, candour, and undeniable sex appeal. His latest offering, “Miss Mayotte,” is a journey through the heart of a true artist. Born in Montreal’s vibrant culture and honed in the Bay Area’s heat, OTH€LLO’s transformation from a street busker to a hip-hop sensation is nothing short of remarkable.

“Miss Mayotte” kicks off with “Her Soul Speaks,” a track that effortlessly blends jazzy neo-pop with R&B, setting the stage for an album that’s as much a conversation with the soul as it is a musical experience. Each of the eight singles is a chapter in OTH€LLO’s story wrestles with societal norms and emerges as a bold statement of personal evolution.

OTH€LLO’s lyrical introspection is a masterclass in storytelling, with his voice dripping like honey over mellow instrumental arrangements. The production is deep and sonorous, creating a tapestry of scintillating textures that are both soothing and exhilarating.

“Afterglow,” the second single, is a fiery blend of salacious imagery and mellifluous melodies, wrapped in afro-fusion rhythms that redefine the auditory landscape. The album crescendos with the title track, “Miss Mayotte,” a powerful anthem that confronts misogynoir and celebrates the strength and beauty of the unseen queen. OTH€LLO’s journey from cynicism to belief in love’s true form is palpable in every note, making “Miss Mayotte” a symbol of hope and resilience.

OTH€LLO’s music is deeply rooted in his Congolese heritage, with influences from gospel and secular soukous tunes. His journey from performing in musicals in a conservative Edmonton high school to honing his craft in Toronto’s streets and church choirs has audibly imbued his music with intoxicatingly unique authenticity.

With over 84,000 streams on Spotify for his debut single “SZA 4 NGAZ“, which also features on the album, and critical acclaim from The Source and This is 50, OTH€LLO is not just an artist to watch; he’s an artist to experience. “Miss Mayotte,” available for streaming from November 24th, is a testament to the power of music to transform, inspire, and transcend.

Miss Mayotte will be available to stream on all major platforms, including SoundCloud and Spotify.

Review by Amelia Vandergast

Oxford singer-songwriter Emma Hunter brought Latino Post-Punk to UK shores in her artfully augmented single, Guilty

Posted on 29 October 2023

If Iggy Pop is the Passenger, the Oxford singer, songwriter, and instrumentalist Emma Hunter is the driver in her biggest single and battle of conscience to date, Guilty, which hit the airwaves on September 29.

With her artful sonic signature scribed through her Flamenco guitars augmented with a brashy and garagey high-octane post-punk energy that will ensnare fans of Siouxsie Soux and Debbie Harry, this guilt-riddled and demon-parading evolution is a far cry from her former releases which reach the epitome of affectingly arresting.

Hunter’s new-found strident approach to enticing listeners into her conceptually cunning creativity will undoubtedly put her on the right trajectory towards the reverence she’s deserved from the outset. As much as the industry maintains that it favours authenticity and talent, her absence from the charts is a damning testament to their appetite for melodic monotony.

Stream Guilty via YouTube and Spotify and keep up to date with Emma Hunter’s new music via Facebook and Instagram. 

Review by Amelia Vandergast