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Pop-Rock

The Serenity Club launched an attack of anthemic alt-rock reclamation with ‘Taking Back My Life’

The Serenity Club

With pop-fuelled alt-rock choruses that will be euphony to be the ears of the Foo Fighters between verses that reanimate rugged 90s Britpop swagger, The Serenity Club’s latest single, Taking Back My Life, is an unforgettably emboldening anthem of reclamation.

The high-octane synthesis of volition, redemption and serotonin is set to put the London-based triadic powerhouse on the map ahead of their debut five-track EP, Obsession Submission, which is due for release later this summer. The timely release of the single also means that it incidentally coincides with the General Election; I couldn’t think of a better track to listen to on the way to the polling station.

Hints of 90s-era Manic Street Preachers (think along the lines of Slash n Burn, You Love Us, and Kevin Carter) resound throughout the vivaciously fuelled guitar licks and the razor-sharp hooks that don’t stop at pulling you into the centre of this intensely liberating hit. They open the doorway to one of the most determined-to-embed earworms you’ve ever encountered as they work alongside the unflinchingly dynamic vocals of Mit Inajar.

With an exhilarating sound that Wembley Stadium could scarcely contain, The Serenity Club has exactly what it takes to take their career to stratospheric heights this summer; just try standing in their way.

Taking Back My Life will be available to stream on all major platforms, including Bandcamp, from June 28th.

Discover more about The Serenity Club via their official website.

Review by Amelia Vandergast

STARR became queen of the femme fatales in her dark pop anthem, Die 4 Me

STARR usurped every femme fatale that came before her with her eagerly anticipated follow-up to her 2023 debut single, Novocaine. Her dark and sensuously debauched electro-pop-rock sophomore single, Die 4 Me, is a bass and seduction-drenched exploration of how luring the sinister side of love can be in a mind inclined towards fatal attraction. After all, what could be a more devoted gesture than a hypothetical willingness to die for the one you love?

Following a film noir-esque intro, STARR emerges as one of most striking sirens on the airwaves with her irresistible vocal lines before the spectrally decorated harsh reverberant beats transform Die 4 Me into an infectiously foreboding dance-pop track that makes Lady Gaga’s Bad Romance seem pedestrian at best.

Like the pop lovechild of In This Moment, STARR knows exactly how to infuse scathingly sultry energy into a rhythmically kinetic anthem that will leave you under her unfuckwithable spell.

Die 4 Me is now available to stream on Spotify.

Review by Amelia Vandergast

Remilekun delivered another divine experience with the live recording of ‘Miracles, Signs and Wonders’

Remilekun’s live performance of her latest single, Miracles, Signs and Wonders, is nothing short of a transcendent experience; the studio recordings of her performances are impressive, but the live renditions elevate her music to a whole other sanctifying level.

Joined by a band whose talent knows no restraint that infuses 80s pop rock aesthetics into gospel, and supported by the uplifting Sound of Gospel Choir, the single reaches the epitome of an inspiring release. If you were waiting for a divine intervention, here it is.

Unlike your ordinary sonic deliverances of euphoria, Miracles, Signs and Wonders stand out by grounding its feel-good essence in its lyrics. Listen once, and you’ll find yourself basking in the power of gratitude and opening your mind to the possibility of miracles awaiting you. The pure, unbridled soul within the release serves as a reminder that embracing a rose-tinted view of the world can lead to personal reality blossoming.

Recorded live in the Netherlands, this single leaves you with soulful beats that evoke joy, hope, and love. The performance’s authenticity and arcanely unfiltered energy resonate profoundly, enabling listeners to forge a genuine connection to the music. Remilekun’s celestial timbres, cradled effortlessly by the choir, make this live version a must-listen for gospel fans or anyone who simply needs a reminder that the world is an illusion filtered through perception.

Watch the official music video for Miracles, Signs and Wonders, which was recorded live in the Netherlands on YouTube.

Review by Amelia Vandergast

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

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

USUALLY MODEST became the biggest free-from-vanity rockstar in pop with ‘Toothpick’

USUALLY MODEST came in red-hot with his latest rock-licked hypersonic pop hit, Toothpick, which blurs genre boundaries through an explosion of high-energy hooks and a sense of unfettered exuberance that becomes infectious from the first progression.

Unravelling like an accelerated sonic lovechild of the Weeknd and the 1975, Toothpick speeds past contemporary trends, arriving safely in the confines of the future of pop, inviting listeners in by laying out a doormat woven by innovation

Just as his moniker would lead you to believe the up-and-coming Switzerland-born-and-raised artist with Ukrainian roots, his free-from-vanity sensibility shines through in Toothpick. The sticky-sweet emotional underpinnings are the cherry on the hyper-augmented sonic cake, which will undoubtedly allow the self-taught singer, songwriter and producer to rack up even more streams.

Since his humble beginnings on SoundCloud in 2017, USUALLY MODEST is well on his way to becoming a viral sensation. In the last three years, he’s racked up over 350,000 streams on Spotify along with 50,000 total views on YouTube. His standout single, Soul Searching, has also been in regular rotation on one of the biggest Swiss urban radio stations, yet, we’re sure that there are far bigger accolades waiting to fall on the revolutionary.

Stream the official music video for Toothpick when it premieres on June 7th via YouTube.

Review by Amelia Vandergast

J fired shots in his arcane parody pop-rock hymn, Our Men

Satirically blasphemous shots were fired at the military-industrial complex and the absurdity of piety in the latest single, Our Men, from one of the UK’s most enigmatic originators, J.

Having already witnessed J through his single Shame on You, we knew to expect a certain degree of endearing obscurity in this single, described as a stimulation of humour, intellect, emotion, body and soul, yet the one-man powerhouse exceeded all expectations in the spacey chorally psychedelic pop-rock hit that simultaneously gives Jonathan Pie, Prince and The Beatles a run for their money.

The cleverly meta single delivers intricate layers of depth that stack up to stand as a monolithic testament to J’s ingenuity. Not one to throw himself into expositions half-heartedly, Our Men cracks open the psyche of a warped military captain turned priest with a penchant for invasion and occupation. The parallels of tyrannical control were always there, it just took an audaciously bold artist to create a sonic boardwalk between them.

The guitar work that could make angels cry as it soars throughout the gospel-esque pop production towards the outro is the icing on this arcane parody’s cake. Naturally, we can’t wait to hear what J sinks his lyrical teeth into next.

Stream the official music video for Our Men when it premieres on YouTube on May 15th.

Review by Amelia Vandergast

Out of Time ft Jojo Guo Elevated Phil Raskin to Audio Legend Status

The wall of sound that rushes right over you when you hit play on the standout single, Out of Time, from the three-track single, Fade, affirms that Phil Raskin has earned a place among the likes of Phil Spector, Tom Dowd, and George Martin in the audio engineer hall of fame.

The clarity, depth, and all-consuming intensity within the synthesis of pop, rock and soul make the production a phenomenon in its own right – not that the immensity of talent nestled within the performance can be understated. With guitar riffs that paralyse with their overdriven power, organ keys that transcend enough to escape material reality, and the 70s pop-rock piano melodies that intensify the emotion within Jojo Guo’s vocals and wash away the decades, Out of Time is a timelessly indomitable multisensory experience that is by far one of the most Grammy-worthy pieces I’ve heard in the past decade.

To hone his talent, the multinational engineer studied Music Production & Engineering, Film Scoring and Audio Post-Production at Berklee before relocating to LA where he became an integral part of Igloo Music Studios, working on projects for Netflix and Disney. Further into his career, he recorded a full choir session for the 2023 Super Bowl Pre-Show and was put in charge of Spatial Quality Control of Dolby Atmos deliverables for Camel City Sound. At this stage, if he had any more feathers in his cap, he’d need an aviary to contain them.

Stream Out of Time on Spotify or purchase the single via Apple Music.

Review by Amelia Vandergast

Rich Freed – Peace of Mind: An Indie Pop Rock Liberation from Introspective Oblivion

Rich Freed’s latest single Peace of Mind is a compelling narrative of internal conflict, wrapped in the nostalgic warmth of 90s Britpop influences. His style, in this track, reminiscent of icons like Oasis and the Stone Roses, injects a potent mix of indie pop-rock and a bluesy undertone into the bustling modern music scene.

The track pulses with an augmented, atmospheric production that escalates until it bursts into exhilaration in the stadium-ready choruses. The rhythm carries the confident swagger of Britpop while infusing it with a fresh, intoxicating energy that seems to speak directly to the soul. It’s more than just an earworm; it’s an electrifyingly vindicating sonic exploration of the human condition.

Lyrically, Freed offers lines that listeners will want to etch into their memories as he muses on the universality of self-doubt and introspection, making it relatable on a fundamentally human level. Every verse delivers a tattoo-worthy mantra, backed by an aura of bluesy rock n’ roll that transforms this high-octane anthem into a cathartic experience.

For anyone who’s ever felt at odds with themselves, Rich Freed’s “Peace of Mind” offers not just solace but a liberating, rhythmic release. It’s an anthem for the introspective, for those who seek peace in the chaos of their own thoughts.

Peace of Mind will be available to stream on all major platforms, including YouTube, from April 26th.

Review by Amelia Vandergast

Skinny G Radio lingers on the precipice of chaos in his augmented alt-pop power ballad, As I Look Around

Skinny G Radio’s latest single, As I Look Around, is an audacious expression of alt-pop artistry that captures Geoffrey Lussier at his most uninhibited. As a Connecticut native with a diverse musical pedigree, influenced by the likes of Billy Joel and John Mayer and seasoned through an apprenticeship in Los Angeles, Lussier’s craft as Skinny G Radio fuses insightful songwriting with an eclectic production style reminiscent of Mark Ronson and Jon Bellion.

As I Look Around is a rock-licked, electronica-augmented piano pop power ballad that dances on the edge of chaos and control. This track encapsulates the turbulence of its themes—insanity and the loss of control—in a way that resonates deeply in our unpredictable era. Yet, it’s the song’s masterful balance of explosive energy and restraint that defines its character. With dynamic shifts that travel from the guitar-driven grit of 70s rock through the polyphonic glow of 80s pop, to the ornate orchestral layers, the song creates a rich, ever-evolving soundscape.

This single not only highlights Lussier’s ability to channel broad musical influences into a seamlessly alchemic sound but also his skill in creating a palpable connection through layered, complex compositions. As I Look Around is a compelling herald for his upcoming album, promising more explorative leaps into the potent emotions and reflections of contemporary life. It’s an invitation to experience the maddening times with a sense of infectious zeal and an anthem for those drawn to the artful edge of alt-pop innovation.

As I Look Around was officially released on April 16th; stream the single on Spotify.

Review by Amelia Vandergast

Seßler/Zeeb packed a lyrical plea for compassion in a pop-rock ballad with ‘If No One’

The superlatively soulful German pop duo, Seßler/Zeeb, sprinkled swathes of (Ziggy) stardust into the production of their 70s folk singer-songwriter-tinged rock-pop ballad, If No One, which implores the listener not to discard humanity and compassion in an era which is becoming increasingly hard to bear.

Over the gentle major piano keys, the lyrics find a way of directly engaging you, pulling you into the plea to bolster the strength of humanity by one act of kindness at a time. The reprise of “if no one really cares” affirms that feeling as though you’re all alone in your plights is one of the most devastating shots to the heart of the human condition. The duo’s handling of this tender subject matter stands as a testament to their ability to evoke emotion with their provokingly pure approach to classic pop songwriting.

Between the lyrical messaging, which will leave you questioning what you can do for someone else today, and the upbeat tones which carry the timbres of the gospel choir in the chorus until it’s time for the guitar solo to inject the release with euphonic zeal, If No One will stay with you, long after the final note has faded.

If No One was officially released on April 5th; stream the single on SoundCloud.

Review by Amelia Vandergast