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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

Jeff Goldsmith – Before Dawn: Stillness in Electronic Neo-Classic Motion

This Beast by Jeff Goldsmith

Ahead of the release of his This Beast EP, the award-winning Minneapolis film composer and sound designer, Jeff Goldsmith teased the reflective ambience to come with the unveiling of ‘Before Dawn’.

The instrumental score captures the beauty of the stillness before dawn breaks and the humdrum of modernity unfurls. The electronic synthetics reverberate around the softly plaintive keys which keep the momentum quiescently pushing forward through the layers of ethereal reverb which border on ominous as the single progresses reaches a subtle crescendo.

The track then winds back down through an installation of artfully composed neo-classic trip-hop, exhibiting Jeff Goldsmith’s versatility as a musician and engineer. His ability to beguile through electronic sound design fused with treated samples and evocative acoustic instrumentation has earned him several accolades in the industry.

When he’s not composing for the airwaves, he’s scoring soundtracks for horror and thriller films. His most recent project, This Beast, may be a departure from his industrial leanings, but for the sonic sanctuary it delivers, it is more than worth your attention.

Stream and purchase Before Dawn on Bandcamp now.

Review by Amelia Vandergast

Tact rendered ‘Catharsis’ in their neo-classic homage to human resilience

Tact, led by the visionary Franco Tartaglia, has earned a revered reputation for kindling their compositions with heightened emotion since their 2009 formation. With their latest jazz-infused neo-classic soundtrack, Catharsis, they reached the pinnacle of evocative poignancy while celebrating the resilience of the human spirit.

Ensuing from a diaphanously ornate feat of cultivated ambience, the instrumental arrangement, as suggested by its name, leads the listener over the brink of emotional release through a strikingly thematic crescendo of jazz-instilled rhythmic complexity.

Leading up to the crescendo, the delicate touch of minor key piano notes hit deep, stirring the senses before the addition of fluid, finger-picked classical guitars injects palpable warmth into the piece. Wordlessly, the piece reflects the often-overlooked beauty within humanity; our ability to physically, psychologically, and spiritually endure atrocity in the tumultuous human experience and take it within our stride.

Catharsis stands as a vibrant testament to the band’s journey and evolution; recorded at Temple Studios and accompanied by a film crafted by Kenneth Scicluna and Klara Vassallo, the release is the ultimate homage to inner strength and dignity.

Stream the official video for Catharsis on YouTube now.

Review by Amelia Vandergast

The Primary Phase Principle has unveiled their cerebral post-industrial fable, The Subdued Mechanist

Taken from the debut EP, Echoes of the Mechatronic Age, the standout post-industrial electronica score, The Subdued Mechanist, from the Winnipeg-hailing solo artist, The Primary Phase Principle, paradoxically pacifies the senses while heightening emotions to such a visceral extent, it is almost primal.

The concept EP implants listeners in a fictional civilisation which depends on a universal mechanism they can no longer fully understand to deliver the ultimate parable of the AI-dominated future we are sleepwalking into.

The atmospherically filmic ambience of The Subdued Mechanist cerebrally alludes to Orson Welles’ belief that there is no confidence equal to sheer ignorance; it’s a liberating, quasi-Stoic score that holds a mirror to humanity and its willingness to evolve beyond its own comprehension.

By pouring influence of NIN, How to Destroy Angels and Tangerine Dream through a science fiction lens, The Primary Phase Principle unlocked the narrative power of post-industrial. He has a superlative gift in his ability to chronicle immersive fables simply through juxtapositions of harsh mechanical synthetics and crystalline flashes of enlightenment. His EP is so much more than just another addition to the airwaves, it’s a beacon of higher consciousness.

Stream The Subdued Mechanist on Spotify.

Review by Amelia Vandergast

Martin Packwood wrapped his latest jazz fusion, Moonlight in Paris, in the warmth of the Parisian night

Martin Packwood’s latest single, Moonlight in Paris, is a scintillatingly smooth journey through the streets of jazz fusion, where every note feels like a step along the Seine under a starlit sky. This amorous installation unravels as a sensory expedition, wrapped in the warmth of a Parisian night.

Packwood’s guitar work, reminiscent of the bluesy soulfulness of Eric Clapton, intertwines effortlessly with the jazz keys. The bluesy guitar notes, like whispers of a distant love affair, meld with percussive fills that don’t just give the score structure, they fill Moonlight in Paris with anticipation.  Each progression in the track teases the listener not unlike the narrative arc of a classic romance.

The genius of Packwood lies in his ability to draw from a diverse palette of influences. His style, a confluence of Santana’s rhythmic mastery and the improvisational spirit of jazz, makes Moonlight in Paris a track that transcends mere auditory experience. It’s a piece that paints pictures, evoking the filmic aura of a David Lynch creation.

This release, following Packwood’s consistent contributions to the jazz-rock fusion domain, confirms his place as a sculptor of soundscapes rather than just a musician. Moonlight in Paris is a nocturnal stroll through the heart of jazz fusion, leaving listeners with a longing for just one more night in the city of lights.

Moonlight in Paris will officially release on March 15; stream the single on SoundCloud.

Review by Amelia Vandergast

Supernova Goldfish narrated ‘Forgotten Love Stories’ in his orchestral score

Supernova Goldfish’s latest standout composition, Forgotten Love Stories, the opening single from the album Beautiful World, is a poignant exploration of the soul’s emotional depths. Alexis Walter Blaess, the Argentine-American composer behind the Supernova Goldfish moniker used the delicately compelling piece to capture experiences of Earth; not solely through a humanist view, but a deeply naturalistic one, by removing any sense of ego from the narrative.

The piece begins with tender piano keys, their softness mirrored by the gentle caress of orchestral strings. This introduction sets a tone of introspection, inviting listeners into a world where emotions are heard and felt. As the narrative unfolds, the tempo quickens, echoing the exhilaration and loss of inhibition which comes as a courtesy of affection.

Blaess, drawing inspiration from pianists like George Winston and film composers such as Dustin O’Halloran, crafted an intimately affecting composition through heart-stirring violins and a contemporary orchestra with an exotic vibe, adding layers of complexity to the piece.

The climax of the composition is a masterful depiction of the strife and wounds inherent in love and war. The music swells, capturing the intensity of these emotions before gradually resolving into a reflective calm, leaving listeners with a sense of catharsis. Blaess’s ability to convey moods and emotions through melodies is evident in every note.

Forgotten Love Stories will be available to stream on all major platforms from March 1st; stream it on SoundCloud first.

Review by Amelia Vandergast

Daniel Walzer – Space Thing: A Cosmic Journey Through Jazz Fusion

Tripglitch by Daniel Walzer

Daniel Walzer’s single, ‘Space Thing’, from his LP ‘Tripglitch’, is an innovatively entrancing blend of jazz, electronica, and progressive rock elements and a shining example of Walzer’s prowess as a composer and multi-instrumentalist. His ability to compose avant-garde soundscapes deeply rooted in musical tradition is evident in the synthesis of spacey tones and mind-altering melodies.

The prog-rock guitars add a unique dynamic, intertwining seamlessly with the more traditional jazz and classical elements. This fusion creates a soundscape that is vibrant and upbeat yet laced with subtle hints of dystopia. Even amidst the more energetic progressions, Space Thing evokes a sense of quiescence and solace while sharing a few tendencies with the ‘War of the Worlds’ OST.

The production of ‘Space Thing’ is gentle yet potent, allowing each instrument to shine without overpowering the others. This balance is a hallmark of Walzer’s work, reflecting his deep understanding of and respect for each genre he incorporates into his music.

‘Tripglitch’, and particularly ‘Space Thing’, is a reflection of Walzer’s journey through various musical landscapes, from jazz fusion to new age and ambient pop. His ability to blend these styles while maintaining a cohesive sound is nothing short of remarkable.

Space Thing is now available to stream and purchase on Bandcamp.

Review by Amelia Vandergast

Embrace the beauty and brutality of the human experience with Mirko Sangrigoli’s seminal neo-classic composition, Z

Mirko Sangrigoli’s latest single ‘Z‘, from his sophomore LP, is a cinematic instrumental emblem of his dual artistic identity. As a jazz musician and a composer of filmic soundtracks, Sangrigoli demonstrates his ability to straddle these worlds with finesse.

Z, the title single from his 2024 album, is a narrative of the complexities of our times, articulated through the eloquence of keys. The track begins with a sense of urgency, the piano keys dancing rapidly, evoking a sense of franticness that mirrors our chaotic epoch. Yet, there’s a method to the madness, which speaks to Sangrigoli’s jazz background. The improvisational feel of jazz is present, but it’s reined in, controlled, and purposeful.

As the piece progresses, it shifts into more reflective moments; these intersections are where Sangrigoli’s talent shines brightest. The transition from the frenetic to the contemplative interludes is seamless as they open a gateway to introspection, echoing the quieter moments in our own lives.

It’s a soundtrack for the ennui-inclined existential soul, capturing the beauty and brutality of the human experience. For those seeking a musical piece that is both thought-provoking and emotionally resonant, ‘Z’ is a journey worth embarking on.

Z was officially released on January 31st; stream the single on Spotify.

Review by Amelia Vandergast

Nick Pike has debuted a neo-classic composition of profound contemplation with the release of ‘Norastoria’

Nick Pike

Nick Pike’s instrumental neo-classical piece, Norastoria, is a composition of contemplation, capturing the tenderness of tentative new beginnings as vividly as the tumultuousness of reality which demands resilience to weather life’s relentless storms.

Each note is as accessible as the last in the endlessly inviting piece which keeps its finger on the evocative pulse. Words are surplus to requirement through Pike’s talent in depicting human narratives in humble neo-classic melodies. Pike’s ability to infuse each note with a sense of purpose and feeling is remarkable. The single is a journey through the highs and lows of the human experience, rendered with a sensitivity and depth that only a musician of Pike’s calibre can achieve.

As a London-based producer, multi-instrumentalist, and educator, Pike brings a unique blend of influences to Norastoria, the title single prised from his debut solo album, from the classical echoes of Beethoven and Debussy to the rhythmic intricacies of jazz and funk. The title single is a testament to Pike’s versatility and his ability to weave diverse musical threads into a cohesive and engaging narrative.

Norastoria will be available to stream and purchase on all major platforms from January 12th. Discover Nick Pike’s sound via his official website.

Review by Amelia Vandergast

The ‘Reckoning’ is Here, in the Form of Dissolved Girl’s Darkly Dystopic Trip-Hop Debut

With the juxtaposing vocal samples setting the cinematically disquiet tone as efficaciously as the harbingeringly dark electronic synthetics, which delve far beyond the dark depths of PJ Harvey, Massive Attack, and Portishead, Dissolved Girl made one hell of an entrance with their debut single, Reckoning.

The haunting anthem for a world teetering on the brink of collapse is a dystopian masterpiece, which encapsulates the unease and turmoil of contemporary times with its perturbed tones and intricately layered instrumentals. We all knew a reckoning was coming, but who would have known it would be delivered by a London-based four-piece with a penchant for the alt-90s, alt-rock, and hip-hop? Dissolved Girl not only captures the essence of an impending societal storm but also delivers a sense of catharsis – a release that fans didn’t realise they needed until it was upon them.

Forward-thinking and accessible in equal measure, the debut is a stark testament to their ability to innovate within the modern music scene. We can’t wait to hear the debut LP, which has been four years in the crafting, with the help of producer Dani Castelar and mastering engineer Matt Colton. The attention to detail paid off immensely; each note and nuance served the song’s brooding atmosphere and intensified the listener’s experience to the nth degree.

In an industry saturated with fleeting trends and disposable hits, Dissolved Girl stands as a beacon for those who crave depth, complexity, and sincerity in their playlists.

Reckoning debuted on November 13th; stream it on Spotify.

Review by Amelia Vandergast