Browsing Tag

Soundtrack

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

Victor Moreno delivered nyctophoria with his original film score, Ascend All Night

Victor Moreno’s original film score, Ascend All Night, opens an unflinchingly scenic aural space; he takes a score- opulent in emotion, yet aligned with a sense of unease -past the usual remits of neo-classical into a disquieting sci-fi territory that slips away from gravity.

Thick with unsettling intrigue, akin to a dark corridor you ache to explore, Ascend All Night unravels a nyctophile’s sonic dream by painting a twilight canvas in an ocean of depth which rushes forward into the static of intercepted radio signals before moving past them into the depth of the unknown.

Celebrated for his refined compositions, Moreno has a background enriched by his time at the Swedish Center of Electroacoustic Music and Sound Art. His collaborations with figures like Oliver Ackermann and Wolfgang Tillmans, and his reuniting with sound engineer Rupert Clervaux—who has worked with Spacemen 3 and Spiritualized—bolstered the polished audial textures that define this score.

This evocative piece, central to the narrative of the short art film Ascend All Night, crescendos through a rapture of rich textures, blending piano, violins, synthesisers, and the irreplicable draw of Spanish acoustic guitar. Drawing comparisons to the likes of Nick Cave and Warren Ellis, or Thom Yorke, Moreno’s work has ensured that the short film is already making waves across the film festival circuit, promising a vivid journey for audiences everywhere.

Stream the original film score here.

Review by Amelia Vandergast

Didier Recloux painted what it means to be human in an inhumane world in his cinematic score, First Walk

Didier Recloux’s single, First Walk, from the album Monsieur Linh and His Child, submerges listeners into a sombre, war-torn universe, showcasing humanity’s struggle against unimaginable atrocities. This profound composition, hailing from a Belgian-born composer with roots deeply embedded in a rich musical lineage, speaks to the resilience and spirit of the human condition.

A veteran of various musical influences—from the progressive rock echoes of Maurice Jarre to the iconic cinematic scores of Ennio Morricone—Recloux’s work reflects a diverse palette of sounds and emotions. Having mastered multiple instruments and the art of orchestration, his compositions carry a unique signature that resonates with the mind, body and soul.

First Walk itself is a poignant reminder of this versatility. The orchestral arrangement, carefully cultivated under the tutelage of experts across continents, delicately weaves a tapestry of humanistic progressions that evoke deep emotional responses. The dual essence of purity and torment reverberates through the very core of the release, engaging the listener in a deeply immersive cinematic experience.

The crescendos, striking in their clarity and impact, build a pensive atmosphere that transcends mere auditory experience; they demand contemplation of what it truly means to endure in an inhumane landscape.

Stream the official music video for First Walk on YouTube.

Review by Amelia Vandergast

Delve into the digital abyss with Intonation Effigy’s harbingering journey, Artificial Intelligence

Intonation Effigy’s latest single, ‘Artificial Intelligence‘, composed by Keegan LaBrot, is a dark and harbingering journey into the underbelly of electronica. This cinematically dystopian instrumental release is larger than life in its encapsulation of the ever-lingering threat of AI’s inevitable domination.

The track is a masterclass in creating a disquieting and artfully disconcerting atmosphere. Intonation Effigy’s use of complex and glitchy time signatures is a sonic visualisation of the tumultuous epoch we are entering. The equilibrium between dark, bass-drenched synthetics and light, almost ethereal aesthetics is a testament to Intonation Effigy’s ability to emotionally round out his immersive productions. The track is a journey, not just through sound, but through the emotional landscape of a world grappling with the rise of artificial intelligence.

As the third single from this artfully profound visionary, ‘Artificial Intelligence’ establishes Intonation Effigy as an essential name to follow in the electronica scene. This track is more than a musical composition; it’s a statement, a reflection of our times, and a glimpse into a possible future dominated by AI. For fans of electronica looking for depth, complexity, and emotional resonance, ‘Artificial Intelligence’ by Intonation Effigy is a must-listen.

Artificial Intelligence dropped on March 19th; stream the single on Spotify now.

Review by Amelia Vandergast

Let your imagination breathe in the woodland lore in Supernova Goldfish’s composition, Mystic Forest

Few modern orchestral pieces resonate with the vivid imagery and emotional depth of Supernova Goldfish’sMystic Forest‘. This single, a masterful blend of neo-classical composition and ornate folk elements, invites listeners into a realm where material reality slips away and imagination breathes freely.

Alexis Walter Blaess, the Argentine-American composer behind Supernova Goldfish, draws inspiration from luminaries like George Winston and Olafur Arnalds. He has a unique ability to instil awe and wonder into his productions which find opulent balances between worldly and introspective qualities.

Mystic Forest unravels as a reflection of the composer’s respect for nature; it shifts from the serenity of a sun-dappled glade to the subtle trepidation of unknown paths while encapsulating facets of woodland lore. The interplay of light and dark, the dance of trepidation-tinged and playful tones, all coalesce into a cinematic score that engulfs the listener in aural fantasy.

The release is a reminder of the enchanting power of music to transport us to places unseen, to touch the intangible, and to reconnect us with the natural world’s mystique.

Mystic Forest was officially released on March 1st; stream the soundtrack on SoundCloud.

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