Browsing Tag

Queer Pop

Jake Marshall allowed the anxiously attached to unite in his retro synth-pop hit, TOO MUCH!

We may be in an era of throwaway pop hits but if any track is worth holding onto it is Jake Marshall’s sad-boy synth pop sophomore release, TOO MUCH! Marshall and his 5-octave range set the bar high with his titularly ironic debut single, Bad Singer, and transcended it with the 80s aesthetics and indie hyper-pop nuances in TOO MUCH.

The candidly riotous track finds an earwormy way to articulate the trials and tribulations of contending with an insecure attachment style and battling with the inner monologue which constantly gnaws with crushing self-reflections of overbearingness. Even if you don’t have bags of childhood trauma attached to your attachment style, we can all relate to some degree to how it feels to feel too much as we try and seek assurance and affection.

Safe to say, Jake Marshall is the queer icon we never knew we needed; his discography is shaping up to be far more than just outpours of pained introspection, it’s a safe space where outliers, the heartbroken and the LGBT+ community can find swathes of consoling resonance.

With his upcoming EP, love(s) of my life, in the pipeline, the future looks iridescently bright for Jake Marshall.

TOO MUCH! Dropped on September 6th; stream the track on SoundCloud now.

Review by Amelia Vandergast

Preston Scott Straus became a member of queer pop royalty with ‘For Love’

Infinitely more affirming, affecting and empowering than anything RuPaul has produced in their 15 studio album span, the latest single, For Love, from Preston Scott Straus will hit you in places you never knew music could touch.

To bridge the gap between the ballad and the dance-pop anthem, the Cleveland Ohio-originating singer-songwriter delivered an evocatively-charged synthesis of sincerity and vulnerability into a kinetically euphoric production which doesn’t just carry his lyrics, they amplify the verses which become mantras, ensuring they will stick with you for long after the outdo

After his humble upbringing where escaping into fantasy was the only way to feel free, Straus found music at the age of 12 when he played in the Cleveland Youth Wind Symphony and cut his vocal teeth by singing in the Cleveland Orchestra Youth Chorus.

At 18, Straus honed his songwriting and production talents which eventually helped him to overcome a challenging and homophobic childhood as he pursued love, freedom and creativity away from the church community.

Today, the artist is still endlessly devoted to making the world better for people who are just trying to be themselves, which shines through luminously in For Love which may be a feel-good track, but you’ll have to choke back the tears while embracing the soul of the single.

For Love dropped on the 30th of August; stream the single on Spotify.

Review by Amelia Vandergast

Marc Ambrosia rivalled Against Me in his queer pop-punk anthem, We Are Who We Are

For anyone whose true identities are continuously obscured by lenses of prejudice and misconception, Marc Ambrosia’s riff-raw pop-punk anthem, We Are Who We Are, is the definitive cure.

With an augmented-with-frenetic-exhilaration chorus and endless mantras to adopt for authentic empowerment, it is impossible to resist the intoxicating energy in the release which proves that Marc Ambrosia is just as adept at producing high-octane rock hits as he is when it comes to producing perennial pop earworms. And yet, his versatility is only the start of his expansive cross-over appeal which can easily establish the New Jersey singer-songwriter as one of the most essential queer artists of his generation.

Ambrosia’s forthcoming album, Gay & Proud, is shaping up to be as iconic as Against Me!’s Transgender Dysphoria Blues LP. The same visceral punk as fuck energy runs within the liberatingly protestive anthem which attests to how embracing your autonomy and flying your own flag is one of the most revolutionary acts a human is capable of.

In his own words, Marc Ambrosia iterated “It’s a song about individuality and nonconformity. People like to make assumptions about other people’s identities and they’re usually wrong.”

We Are Who We Are was officially released on August 16; stream the single on SoundCloud and visit Marc Ambrosia’s official website for more information on his upcoming album which is due to drop on August 30.

Review by Amelia Vandergast

Jake Marshall tore the sutures off his wounds for his folk-pop debut, bad singer

In one of the most vulnerable and soul-baring folk-pop debuts the airwaves have ever witnessed, Jake Marshall tore the sutures off his wounds and stood in front of the world unfeigned with his debut single, bad singer.

With gospel motifs swelling around his vocal lines that simultaneously exhibit his impressive octave range and his ability to convey heavy emotions in even the highest registers, there’s something profoundly sanctifying about the opportunity for connection presented by bad singer.

The titular paradox of this track is just one of the ways Marshall artistically shines in the raw vignette of his trauma that would break most and resign them to shame. The power of fortitude resounds through the release which proves that even if you live and sing in spite, you can salve the pain of others as you chart your arc of healing.

bad singer is Jake Marshall’s candid reflection on overcoming self-doubt instilled by past relationships. With evocative melodies and introspective lyrics, the song chronicles his journey from being told he couldn’t sing to embracing his voice. The track captures the essence of his unique blend of sad folk-pop, setting the stage for his forthcoming EP, Love(s) of My Life.

Stream the official music video for bad singer on YouTube now.

Review by Amelia Vandergast

Marc Ambrosia aurally embodied queer pride with his alt-pop anthem, You Can Tell Me

Pride month may be over, but the perpetual appeal in Marc Ambrosia’s queer pop anthem, You Can Tell Me, is infinite.

The luminously iridescent outpouring of euphoric emotion, inspired by a coming-out story which tore down a barrier in a friendship, explodes as a riotous affirmation that there are few things sweeter than tearing off a façade and tuning into the liberating freedom of living openly and proudly.

The tinged-country pop-rock hit is enveloped by the exhilarating joy that comes as a consequence of acceptance and self-expression while LGBTQ+ allies are celebrated for their profound ability to change worlds simply through understanding and accepting.

Whether the single acts as an inspiration to take that candid leap or you adopt Ambrosia as a confidant while you prepare to write your own coming-out story, there’s no denying that Ambrosia is well on his way to being crowned as a queer pop icon who will be impossible to usurp if the ecstasy in You Can Tell Me is a sign of what is to come.

With his fourth studio LP, Gay & Proud, due for release on August 30th, he’s a visionary you want on your sonic radar.

You Can Tell Me was officially released on July 5th; stream the single on SoundCloud now.

Review by Amelia Vandergast

Ella Eliza’s Life Without Me Is A Journey Through Heartbreak and Self-Discovery

London’s queen of queer pop Ella Eliza, exhibited the difference between a singer and a soulstress in her latest single, Life Without Me, which firmly puts her in the latter camp.

With spiritual motifs littered through the lush-with-transcendent-textures single that allows the brooding basslines to create a moody atmosphere for the indie jangle pop guitars and glassy synths to explore, Live Without Me breaks new evocative ground as Eliza exhibits her full vocal range from low sonorous reverberations that bring home the gravity of the vulnerable lyricism to the harmonic highs.

Life Without Me reaches the epitome of vulnerability as Eliza navigates the complex landscape of relationships in the context of self-discovery. By sonically visualising the precipice of potential romantic loss, the urgency in the lyrics which were penned in the aftermath of a breakup cuts deep.

Life Without Me will be available to stream on all major platforms from May 31; for the full experience, stream the official music video on YouTube, which was created in collaboration with the multi-award-winning LGBTQ+ filmmaker, Frankie Joe Gommon.

“After speaking with Frankie about making this video, I decided that I was ready to open up about my sexuality for the first time, and let my audience in on some of the most vulnerable parts of myself. I think there’s still a part of me that’s that 13-year-old girl, who’s scared of showing so much of themselves. I am a lot more comfortable with who I am now, but I think the video reflects my past – which is the current reality for a lot of queer people. My biggest hope is that this song and the video resonates with people who are still trapped in that place, and can inspire them to be their most authentic selves.”

Review by Amelia Vandergast

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

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

Shea delivered sultry, dynamic and utterly unforgettable dancehall-infused pop with CARTERTHEBANDIT with ‘U Mine’

Shea’s latest hot and steamy RnB pop track, U Mine, is a rhythmic aphrodisiac that invites you to lose yourself in its intoxicating groove. Collaborating with Peckham’s own CARTERTHEBANDIT, the track is a masterful exhibition of raw synergy and explosive musical chemistry. Shea, with his background in theatre and performance, brings a performance to the track that’s both glittery and soulful, encapsulating the essence of his queer and devilishly evocative artistry.

Between CARTERTHEBANDIT’s fiery bars that add a palpable heat and the meticulously stylised production choices, which set the verses up like foreplay to tantalise and tease before erupting into the climactic choruses, U Mine is a red hot remedy for the heart, libido and soul.

U Mine not only sets the mood but embodies it, from the rhythmically charged beats to the intoxicating vocal deliveries. It’s a testament to Shea’s versatility as an artist who can hold his own alongside the gritty authenticity of a rapper like CARTERTHEBANDIT. This track stands as a shining example of what independent artists can achieve, echoing Shea’s accolades and experiences from his performances at Pride festivals to his recognition on BBC Introducing. It’s a song that captures the essence of a night out—sultry, dynamic, and utterly unforgettable.

Stream U Mine on Spotify.

Review by Amelia Vandergast

MØNA ripped up fabled tropes in her seminal art-pop hit, fairy tale

MØNA opened a portal to a fantastical realm with the otherworldly synth textures in her latest art-pop hit, fairy tale. Around the domineering oscillations of the basslines, theatrical motifs add a histrionically haunted air to the up-tempo release that challenges stereotypical tropes while narrating a complete story, with the singer-songwriter playing the villain protagonist.

After fairy tales become such a principal fixture of childhood and leave us with lofty ideals of how adulthood will unfold, it is hardly a surprise so many of us naively come of age, realise that sometimes the wolf will get us, and discover that white knights are often as nefarious as what they claim they will save us from. Encompassing all this and more, MØNA’s latest single rips up the fabled tropes in artfully beguiling style. We can’t wait to hear what the icon of Avant-Garde pulls out of the bag next.

fairy tale was officially released on August 18; stream it on Spotify.

Review by Amelia Vandergast

Alen Chicco delivered the ultimate debauched dance-pop anthem with ‘killer on this beat’

Ru Paul may reign Glamazon supreme, but if anyone has what it takes to snatch that crown, it is Alen Chicco with his electrifyingly debauched dance-pop anthem, killer on this beat, taken from his sophomore EP, UNCONTROLLABLE. With bass-drenched harsh techno breaks built to death drop to around the sticky-sweet pop melodies, the progressive dance hit, ironically given the name, has what it takes to make any dancefloor come alive.

The Lithuanian singer-songwriter has been dubbed one of the most controversial artists in his country for his tendency to smash through the hegemonic mould with his edgy hook-rife pop hits and flawlessly fierce drag aesthetic, which he introduced to his home country by appearing on X Factor.

He made history as the first Lithuanian drag act to step onto the stage, and clearly, he’s not done with his entries into the history books with his iconic influence that has endured through his music career, which kicked off in 2018 when he launched his debut single.

Stream killer on this beat on Spotify.

Follow Alen Chicco via Instagram.

Review by Amelia Vandergast