Browsing Tag

Pop

Unveiling the Layers of Healing: An Intimate Interview with Jonathan Thomas Maiocco on ‘Religious Trauma Syndrome and The Other Side

Posted on 29 May 2024

Embark on an introspective journey with Jonathan Thomas Maiocco as we explore the depths of his latest album, “Religious Trauma Syndrome and The Other Side.” This interview doesn’t just skim the surface; it plunges into the raw, unvarnished realities of personal trauma, resilience, and the profound healing power of music. Join us as Jonathan reveals the complexities of his path, shedding light on how his art has become a sanctuary for those grappling with similar battles.

Jonathan Thomas Maiocco, welcome to A&R Factory! Firstly, we want to congratulate you on the creatively candid and heart-wrenching triumph of the first part of your next LP, Religious Trauma Syndrome and The Other Side. What inspired you to take the leap and share your story through your music? 

Thank you! Thank you for this opportunity, I’m honored to be here. This project has been such a labor of love. My music is always inspired by my real-life experience, so creating this album is an extension of living it. It’s been kind of terrifying to explore this part of my story in music, especially so bluntly. My first album, The Point of Contingency, was about the beginnings of this journey, but very cryptic. My new music is much more pointed, which was uncomfortable at first but necessary for what I wanted to convey.

I took this leap because I had to take this leap. I don’t know if I had a choice in the matter because I never envisioned myself not doing it. Creativity has always been like that for me. This feels like a silly analogy, but it’s something I think about a lot: when you squeeze an orange, you get orange juice, it’s a natural by-product. And for me, when I go through heightened experiences (positive or negative), I create art about it, it’s just a natural by-product of me simply existing. I can’t not do it.

The next half of your album will be released one single at a time later this month before the LP is released in full at the end of August, is there a particular reason for this release strategy?  

Yes, there are a couple of reasons! First, I’m an independent artist with a handful of listeners, I’m still learning how to be comfortable on social media and building a fanbase. Music and social algorithms feed off consistent posting, so from the start, I knew that releasing this album one track at a time would be the best for exposure and opportunity. Another reason why I’m releasing this album in singles is because deadlines keep me focused. I could spend years editing, so giving myself clear release dates has helped me finish this project. I was also afraid I wouldn’t have enough time to finish the entire album, so I figured releasing as I go was the best move.

Can you describe the emotional process of writing, recording, and producing an album which exposes the clearly still tender wounds of personal trauma? 

It isn’t easy. It’s a strange game of not feeling healed enough to share, and at the same time, knowing that healing comes through sharing. I spent so many years trying to not feel, so for me, the first step was feeling. It’s a non-linear process: some days you’re on cloud nine, and other days, you’re completely defeated and torn apart. I had to let go of looking productive or making anything of this journey. I think in our current culture, we’re encouraged to monetize trauma and it’s not healthy, that’s just another capitalist lie. The most important thing is navigating through the healing journey for oneself alone, regardless of whether it’s advertised or perceived as productive.

In the process of my healing journey, I would hear song melodies and lyrics in my head. I wrote them down but didn’t pressure them to be anything. I created a “music garden”, I planted the seeds but didn’t force them to grow. I would periodically return to the ideas and “water” them by adding new lyrics and production ideas. Eventually, these songs came into existence, not because they had to, but because they had the time and space to. They grew into the songs they are now, and when I could see what they became, I realized there was an album in front of me, one that I was terrified to share but knew I had to for my own healing.

Religious Trauma Syndrome will undoubtedly become a source of solace and consolation for queer people who have endured similar experiences to you, what piece of advice would you give to anyone struggling to make peace with the trauma of rejection from religious indoctrination?

I hope my music is a source of solace for my fellow queer family, I know creating this music has brought me peace!

In terms of advice, I would say – first – I am so sorry if you’ve experienced trauma and rejection, especially for being queer. Acceptance, belonging, love, and safety are basic human needs. From an evolutionary perspective, we are similar to pack animals, we need each other. Humans can’t live without other humans. So to be rejected, especially for who you are, is a primal and threatening experience. Recognizing the pain and feeling it, that is difficult work. Don’t do it alone, surround yourself with people you don’t have to prove your worth to. Healing is not an isolated journey. Be easy on yourself, you’ve been through a lot and deserve rest, understanding, and love. Healing is possible, it just takes time. Drop the timeline, drop how fast or slow you think this should go. This isn’t linear.

We know what you’d like to communicate to your friends, family and religious community who ostracized you by listening to the standout single, Heaven; have you been able to move past the anger, or is it still something you need to temper? 

A therapist once told me, “Anger is the emotion of injustice; behind all anger is pain.” I think it’s important to recognize that anger and pain go hand in hand. Anger is more popular than pain though because being angry is easier than feeling pain.

That being said, I don’t know if anger about true injustice is something to temper. It’s a completely valid feeling. However, I’ve made a decision that I don’t want to live my life as an angry person; peace is an inside job. Sometimes, I am sad and angry, but I choose to acknowledge it, feel it, and move forward. I can’t change the people who rejected me, but I can change myself. They may never be who I wish they were, but I can be who I want to be.

You’ve mentioned meeting many people in Los Angeles who have experienced religious trauma. How have these interactions influenced your music and your approach to this album?

I’ve been surprised at the number of queer ex-religious people I have met here. It’s almost comedic. I thought my story was original but now it feels cliche. Meeting people with similar stories has been so affirming, knowing I’m not alone. It’s also sobering though, it’s sad to see how widespread this problem is.

That being said, meeting others similar to me encouraged me to actually release this album. While I was writing it, I would think to myself, “No one will understand these songs.” But that changed for me one afternoon when I was hanging out with a friend. They are also queer and come from a traumatic religious background, being rejected by family, friends, and community. We were talking about music and so I played them my song Better Off on piano, singing it quietly for my first time to someone else. When I finished the song, I turned around and saw tears streaming down their face. I was shocked. I had never seen someone resonate with my music so quickly and viscerally. We were connected in that moment. And that was when I realized not everyone will understand this music and that’s OK, it’s not for them. It’s for the people who will resonate with it.

We can’t help but admire how much you’ve thrived in your career after all you’ve been through, what has been your proudest achievement so far? 

Thank you! I feel very lucky. It’s been a difficult journey but so worth it. There are a couple of achievements that I’m very proud of, like my degrees in music composition, writing additional music for mainstream TV shows, and producing different artists.

I think my two proudest achievements are, first, this album. This album is the culmination of me. It’s my experience, my training, my pain, my joy, all wrapped into one thing. I’m very proud of this album and I’m thankful to be releasing it! And second, I’m proud of my relationship with myself. I’ve learned a lot about myself on this journey and making this album. I went from being afraid of myself, not feeling like I could trust myself, to becoming my biggest champion, cheerleader, and confidant. It’s the cliche, “It’s not the destination but the journey.” I don’t care where I’m going now, I’m just thankful for who I’ve become on this journey.

–

Stream Religious Trauma Syndrome on Spotify and follow Jonathan Thomas Maiocco on Instagram and TikTok.

Interview by Amelia Vandergast

Remmorii became the king of cross-over appeal in ‘Radio Silence’

Posted on 28 May 2024

Radio Silence by Remmorii epitomises genre fluidity, offering a flood of slick and smooth grooves that easily do the lyrical gravity justice. The melody master’s focus on flow over genre fit is enriched with tinges of Afrobeat flavours within a pop framework. This, combined with RnB hip-hop vocals that spill soul, grants the track substantial commercial crossover appeal.

Raised in Brampton and influenced by Hamilton, Remmorii, a Canadian alternative hip-hop artist, emphasises authenticity and melody in his music. With a name derived from the Latin “Memento Mori,” he reminds listeners of life’s fleeting nature, encouraging them to embrace every moment. His music, characterised by organic sounds, skilfully blends rich basses, crisp mid-tones, and smooth trebles, creating a polished edge that is distinctly his own.

In Radio Silence, Remmorii’s lyrics resonate with a soul ready to scream about an era plagued with alienating confusion. The track’s rhythmic intricacies and emotive delivery reflect his commitment to merging substance with irresistible appeal. If this single is any indication of what’s to come, Remmorii is poised to lead the future of the music industry with his unique voice and poetic lyricism.

For fans of pop and beyond, Radio Silence is a must-listen. Keep Remmorii’s name on your radar; his ability to inspire and uplift through artistic expression is as rare as it is remarkable.

Radio Silence is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Harmonising Psychology and Sound: An Interview with Chris Sunfield

Posted on 28 May 2024

Chris Sunfield’s path from a career in psychology to becoming an indie recording artist is a tale of resilience, introspection, and artistic rebirth. In this interview, Sunfield explored the profound moments that steered him back to music, revealing how personal adversities and a deep understanding of human behaviour shape his unique sound. His EP, Far Away Objects, is a narrative woven from existentialist philosophies, emotional healing, and a quest for authenticity. Through his journey, Sunfield offers a glimpse into how creative expression can transform life’s darkest moments into a symphony of hope and self-discovery.

Chris Sunfield, it’s a pleasure to sit down with you to discuss your unique journey from psychologist to indie recording artist. Can you share more about the pivotal moment that led you back to music after so many years?

Thank you! I went through a perfect storm of negative events a few years back. Close friends died. I made a bad career decision that I couldn’t easily get out of. I moved to a remote suburb and isolated myself from friends. A relationship ended. And finally, an accident hospitalized me. It felt like rock bottom. I was a behavioural scientist facing my own dark night of the soul.

The themes in your EP, Far Away Objects, revolve around answering your calling and fulfilling your dreams. How did your personal experiences influence these themes?

I was a songwriter in my youth and dreamed of being a recording artist someday. I went to university for music but struggled with it so I eventually switched majors and ended up with a PhD. I became a management psychologist. Years passed. I was comfortable but regretful. Hundreds of half-written songs would have ended up in landfill if I had died suddenly. Oliver Wendell Holmes has a quote about this – “Most people die with the music still inside them.”

I’d always been a fan of existentialists like Nietzsche and Sartre. They wrote about living authentically and taking responsibility for realizing our potential before it’s too late. I knew I was living in ‘bad faith’. I felt more guilty as I got older, and as I got farther and farther away from my music.

As a psychologist, how do you think your background in understanding the human mind has impacted your songwriting and musical style?

It’s tough to turn that off even if I don’t want that angle. When I’m transforming my own issues into lyrics, I sometimes can’t help but frame them in terms of what we know about most people’s behaviour. I like to think that my lyrics resonate with some people because they get to the core of many people’s shared but unspoken concerns. They might go, “Hey, how did he know I worry about that?”

You mentioned that you returned to music during a very dark time in your life. How did the process of creating music serve as a coping mechanism for you during that period?

Dealing with adversity and trauma is a huge area in psychology, and there are many coping strategies, both good and bad. I wasn’t feeling very good about myself during that time period. What I needed was some healthy self-affirmation by focusing on something I valued about myself, which was my creative skills. Values affirmations have been known to boost people’s well-being and performance.

Also, when you’re feeling down, you’re far more introspective and vigilant. Your emotions can be creative engines. As badly as you may be feeling, that’s a lens you don’t want to waste. In a way, making music was also a distraction. It’s hard to ruminate on your negative situation when you’re trying to figure out how to get back to the chorus from a bridge or guitar solo.

Far Away Objects is described as a progressive pop polyptych and a cosmological journey. Can you explain what listeners can expect from this unique blend of styles and themes?

I grew up on AM radio pop music, but I was also heavily into classical music and progressive rock. I always liked complex, longer-than-usual pieces with interesting changes. I knew my own music was going to be influenced by this, and not always be radio-friendly or commercial. Rick Rubin, the super-producer, said ‘the audience comes last’ when making music. I agree, even though that can sound arrogant. The song is the star. You have to let it emerge with its own identity and hope that its authenticity will reach people.

For example, the song Anton has a real string quartet. Eclipse has crickets, an ambient break, tempo changes, and Morse code (and yes, it does mean something). Begin has a sax solo and a female choir. Some industry people heard that song before it was released and criticized it. “It’s too long. It has an intro. It has solos and too many changes.” Hearing that feedback only encouraged and excited me. I knew I was on the right track.

What advice would you give to anyone struggling to view their traumatic experiences through anything but a profoundly negative lens?

First off, it’s important to know that adversity can lead to growth. Research shows that the healthiest, most successful people have experienced a moderate amount of adversity in their lives. I wouldn’t suggest seeking out trauma but engaging in challenging experiences that produce ‘ouch’ moments are good for development. Second, what’s the silver lining? People who are able to find benefits in their traumatic experiences tend to bounce back easier. The Buddhists say that pain is experience, and many famous psychologists like Viktor Frankl, Carl Rogers, and Abraham Maslow have highlighted the importance of suffering in achieving life meaning. Of course, if someone feels that they can’t cope with their thoughts and feelings, and it’s affecting their life functioning, then seeking out a mental health professional is warranted. It doesn’t have the same stigma it used to have.

Adverse situations are problems like any other that can be addressed with good problem-solving methods, and a lot of therapy and counseling focus on that. May is Mental Health Awareness Month all around the world. Google that and you’re bound to find resources to help people cope with their distress.

–

Stream Chris Sunfield’s latest EP, Far Away Objects, and follow his journey on all platforms via this link.

Interview by Amelia Vandergast

Kennedy Bane confronted heart-wrenching grief with grace in her debut, Pushing Up Daisies

Posted on 27 May 2024

Kennedy Bane, a 15-year-old pop singer-songwriter from Nashville, TN, rendered hearts raw with her debut single, “Pushing Up Daisies.” The debut instantaneously proved her mettle as a heart-wrenching lyricist as it showcased her evocatively immense vocal finesse. The single belies her 15 trips around the sun, as she tackles the tender subject of grief with a maturity that artists with decades in the industry would struggle to match.

The indomitable sincerity within her standing ovation-worthy performance, paired with the achingly ornate indie-pop instrumentals, won’t leave a dry eye in the proverbial house. The solemn gravity within “Pushing Up Daisies” is superlatively affecting. Kennedy’s ability to convey profound emotion through her music is nothing short of extraordinary.

As “Pushing Up Daisies” unfolds, it’s clear that whatever subject Kennedy turns her talent to next will make for an equally impactful journey. Her collaboration with Platinum Grammy Producer Bryan Todd for her first EP of six original songs is naturally highly anticipated after the release of what will become revered as one of the strongest debuts of the year.

Pushing Up Daisies was officially released on May 10th; stream the single on Spotify now.

Review by Amelia Vandergast

NYC’s Summer Fling put the soul in funk-rock with ‘Blissful Haze’

Posted on 25 May 2024

NYC’s Summer Fling broke their two-year spell of silence by conjuring an elemental force of feel-good furore in their single, Blissful Haze, which delivers exactly what it says on the titular tin.

Using high-energy funk-rock as the stylistic bedrock of the release and finding room to inject soul, blues, pop, and jazz, the seven-piece powerhouse ensured Blissful Haze transcends sound to visualise a state of mind you can enter simply by hitting play on the single which filters nostalgia through a modern indie pop lens.

Few vocalists could match the electrifying energy of the dynamic instrumental arrangement that layers shimmering organs over funk rhythms and hard-hitting horns, but Eddie Kam, an indomitable emissary of charisma, went supernova on the infectiously zealous soul.

With each member of Summer Fling a recently graduated jazz musician, you can rest assured that you’re in rhythmically safe hands as you get taken through the helter-skelter ride of rapture.

Blissful Haze was officially released on May 10th; stream the single on Spotify.

Review by Amelia Vandergast

Ava Valianti has unveiled her icily intimate indie-pop vignette of heartache, January

Posted on 24 May 2024
Ava Valianti

Even if you’ve put your own January blues behind you for another year, the melancholic chill in Ava Valianti’s third single, January, is worth pulling on a jumper for. The Massachusetts indie-pop singer-songwriter reached her zenith with the intimately composed, expansively produced hit, which dials up the intensity of the artful beguile to seduce you into the relatable pensive introspection.

As the ultimate antithesis of a plastic pop protagonist, Ava Valianti ensured the aura which envelops the release visualises the alienating sensation of loving someone from afar and being left in the cold while tethered to the past and hypothetical outcomes as they fall into the arms of another. If Angel Olsen was produced by Thom Yorke, their collaboration would struggle to hit with the same impact as January, which implants pop hooks in a confession which feels far too personal to be a diary entry.

With her debut EP in the pipeline and ready to drop this summer, and every release being a quintessential triumph so far, the future looks bright enough to outshine her luminous talent.

January will be available to stream on all major platforms, including Spotify, from May 24

Review by Amelia Vandergast

Marcus Liuzzi is the last of the great romantics in ‘Right Whatever’s Wrong’

Posted on 22 May 2024

Marcus Liuzzi’s latest standout single, Right Whatever’s Wrong, teases the soul with flawless feel-good finesse by sprinkling layers of spacey Ziggy Stardust over kinetic drumbeats; the fluidity of the intricate laid-back grooves behind the nostalgia of the 80s synths are just as rhythmically compelling as the infectious beats in the Stone Roses signature sound. Paired with the soulful crooning vocal lines, Right Whatever’s Wrong efficaciously embodies the warmth of the sensation of finding perfection in someone that obliges you to never do them wrong or let them down.

Liuzzi, perhaps the last of the great romantics, crafted an atmosphere where the soaring 70s rock guitar riff tears through the euphony towards an ardent outro, giving the track another sweetly exhilarant dynamic. This colourful prism of a pop-rock hit ensures anyone who delves in will feel the full force of the earworm.

Influenced by the likes of the Beatles, ELO, Queen, Pink Floyd, and David Bowie, Liuzzi finds perpetual inspiration in themes of love, hope and peace; his latest single is a scintillatingly soulful amalgamation of his diverse influences, making Right Whatever’s Wrong a testament to his passion and artistry. Dive into this track and let it sweep you into its vibrant, nostalgic embrace.

Right Whatever’s Wrong hit the airwaves on May 10th, stream the single on Spotify.

Review by Amelia Vandergast

Elizabeth Metcalfe prescribed synth-pop serenity with her latest single, Falling

Posted on 20 May 2024

New Zealand singer-songwriter, Elizabeth Metcalfe’s career reached its zenith following the launch of her latest single, Falling. The dreamy synth-pop melodies rival the ethereal pastel hues within Swift’s Tortured Poet’s Society album as Metcalfe transcends the soul delivered in the hyped-to-the-nth-degree LP.

If you’ve been sleeping on Metcalfe since she made her debut in 2019, there’s no better way to awaken your senses to her ability to push future-forward synth-pop into unchartered spiritual territory with the force of her arcane vocal register.

While some love songs only scratch the surface of the light love can bring to our lives and how it casts away the shadows of the past, Elizabeth Metcalfe delivered a love story that is arguably more fully rounded than the Notebook. It’s a panoramic Blockbuster encased in a 3-minute pop production that leaves you hanging on the outro lyric “What if give you my heart and you break it” which juxtaposes the soulful lyrical serenity and Enya-esque beguile that drifted through the chorus and verses.

If you can’t get enough of Metcalfe’s discography, you won’t have long to wait until she unveils her debut EP later this year.

Falling cascaded onto the airwaves on April 19; stream the single on Spotify now.

Review by Amelia Vandergast

stella. playfully broached the implausibility of equanimity in love with the twee maturity in ‘A Study in Balance’

Posted on 19 May 2024

If you prefer your indie pop sans filters, facades and pretension, the latest convivial offering from stella.’s upcoming EP, A Study in Balance, raises the bar for confessional candour and introspective expression.

The title single from the breakthrough NYC indie pop artist comes alive through innocently playful piano chord progressions and vocal harmonies which soften the blow of the lyricism which holds no prisoners when confronting the most conflicting aspects of relationship dynamics. By finding an affable way to allude to the implausibility of equanimity within a relationship when too much is never enough until it tips the balance in the other way, stella. released one of the most relatable singles of the year.

Somewhat ironically, the symmetry between twee tendencies and songwriting sophistication within A Study in Balance was right on point; we already can’t wait to hear the lyrical wisdom bestowed within the singles that are still to drop from stella.’s sophomore EP.

A Study in Balance was officially released on May 3rd; stream the single on Spotify.

Review by Amelia Vandergast