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VAN COUVER Interview: How Everything Will Work Out Eventually Finds Hope in the Storm of Modern Anxiety

VAN COUVER’s sophomore LP, Everything Will Work Out (Eventually), pulls 90s Brit-pop, early-2000s New York indie-rock, and post-punk tension into a record shaped by uncertainty, resilience, and hard-won optimism. In this interview, the band discuss how the album’s sound matured from their debut, how Interpol became part of their musical DNA without defining their identity, and how Everything You Were helped shape the record’s direction. They also reflect on writing through economic anxiety, social media distortion, fractured relationships, and the wider unease hanging over their generation. With autumn live dates planned across Switzerland and Italy, 2026 could be the year VAN COUVER grab a bigger slice of the cultural zeitgeist.

VAN COUVER, we’re stoked to have you here at A&R Factory to get to firmer grips with your sophomore LP, Everything Will Work Out (Eventually), which is set to make its way to the airwaves soon.  Sparks fly between different cross-Atlantic facets of Indie nostalgia through the album; what inspired you to bridge the gap between 90s Brit-Pop and NYC-esque Y2K indie?

Our intention in making music has never been to bridge a gap between two musical genres or anything like that. Rather, I think it’s simply the natural result of the music we’ve always loved listening to, which now converges in our sound. You could say that this bridge between early-2000s New York indie rock and the British sound of the ’90s is something we only recognized in hindsight. And we liked it right from the start!

You make no bones about wearing the Interpol influence on your guitar strings, yet triumph in creating a uniquely anthemic sound. How hard is it to find a balance between paying ode to iconic influences and charting your way through your own territory?

To be honest, we’ve never tried either to pay tribute to anyone or to imitate them. In fact, we’ve never even said to ourselves, “Let’s write an Interpol-style song” or anything like that. We’ve simply made our own music in the most spontaneous way possible, without any effort to emulate someone else. What we do comes very naturally to us, almost as if someone had decided that this is the kind of music we were meant to make. 

That said, we’re also convinced that the music we’ve fed on throughout our lives has undoubtedly shaped the way we understand and perceive music, even if only on a subconscious level. There’s a saying that goes, “You are what you eat.” Well, to answer your question, we’ve definitely eaten a lot of Interpol! Haha!

What was the highlight of bringing the album to life?

The most significant moment—or rather, the key turning point in the writing of the album—was the birth of Everything You Were. We started from an instrumental demo that, at least on the surface, seemed to move slightly away from what we had done before, particularly in terms of the guitar work.

Once we brought the demo into the rehearsal room, the vocal melody came almost naturally and fit perfectly on top of it. It immediately became one of the cornerstones of the album and, in a way, helped define the artistic direction of the songs that followed, such as Lost & Found, It’s On Me, and Wrong.

How has your sound matured since your debut album?

A lot—really, a lot—has changed since our debut album. Actually, rather than changed, I’d say our sound has evolved.

From a songwriting perspective, one of the biggest developments was our effort to improve the dynamics of the songs. We wanted to better understand the different moments within each track so that every section could deliver its full impact. You know, it’s relatively easy to come up with a good riff, a catchy melody, or a great bass-and-drums groove, but writing a great song is about much more than finding a good riff.

Beyond that, the guitars underwent a significant stylistic evolution. The general idea was to play with moments of contrast between the lead and rhythm guitars, as well as moments where the two would work in complete symbiosis and cohesion. This approach allowed us to create a greater sense of depth throughout the album and to develop interesting interactions with the other instruments, including the vocals. The result is a record that feels far more mature than our debut, both in terms of composition and arrangement. Most importantly, all of this growth and evolution has taken place without compromising our musical identity.

Last but certainly not least, there was also a major evolution in the sound design itself, something we worked on extensively. While the debut album had a more blended and, in some ways, more “raw” sound, this new record is more cohesive and solid. Every instrument has its own space, yet together they create a broad, unified sonic landscape. At the same time, we’ve preserved that energetic, bold indie-rock spirit that has always been at the heart of our music.

The LP explores a myriad of emotional themes, but what lies at the core of Everything Will Work Out (Eventually), and how important is it for you to inspire optimism through your music, or at least dispel some of the ennui, apathy and cynicism that’s floating around the collective psyche right now?

First of all, we want to make it clear that we are not life gurus. We simply make music. We tell stories—or whatever we feel like telling at a given moment. So we didn’t set out to write an album around a specific theme. The songs, including the lyrics, came together quite spontaneously. And in this case as well, it was only at the end that we realized a common thread had emerged.

In a way, Everything Will Work Out (Eventually) reflects the struggles of our generation: we grew up with high expectations for the future, only to go through economic crises, pandemics, wars, and a constant sense of uncertainty. There’s this feeling that some promises got lost along the way. However, the crisis is not only material—it is, above all, human. In a world where reality is increasingly distorted by social media, human relationships are especially affected, giving rise to toxic dynamics (both romantic and otherwise) and a broader sense of generational unease.

Despite this unsettling, almost dystopian backdrop, a way out is still possible through the attitude of those who choose to believe in it anyway, to keep going and stand firm through the storm. That attitude is what truly matters. In some way, the songs on the record all relate to this mindset, and they always preserve a glimpse of hope: everything will work out (eventually).

After Everything Will Work Out (Eventually) drops, what’s next for VAN COUVER? 

Until now, we’ve been pretty focused on the release of the album. At the moment, we’re looking for passionate people who believe in what we do and can help us bring our music around the world. That said, we’re also working on a few live dates to present the record this autumn across Switzerland and Italy.

The goal is simple: to consolidate who we’ve become as a band and keep writing music that truly represents us, without forcing anything. And then yes, to take this journey as far as possible, beyond Switzerland as well, if the right opportunity comes along. Who knows—maybe even over to you in the UK! Haha.

Stream Everything Will Work Out Eventually on Spotify now.

Follow VAN COUVER on Instagram.

Interview by Amelia Vandergast

Pierre Englebert’s Jesus Night at the Britestar’ Serves Salvation with a Side of Psychedelic Absurdity’

Pierre Englebert cuts right to the surrealist core of absurdity with his latest single, Jesus Night at the Britestar, a psychedelically twisted rock vignette of satirical salvation which swells with the kaleidoscopic ingenuity of The Beatles, harmonises to the nines of The Beach Boys and swaggers into style with Pavement-esque woozy, off-kilter experimentalism.

Nothing in the fusionist approach to this instant soul-tugger compares to the meta cerebralism behind the orchestration. With far too much wry wit to resound as a novelty hit, Pierre Englebert practically creates a new form of comedy through honky gospel hues, reggae warmth and spacey cosmic sublimity, nodding to Eno in a way that proves his influence can spiral into the most unlikely forms.

Englebert’s double life as a Southern California professor of Comparative Politics and International Relations and prolific singer-songwriter only sharpens the track’s strange intelligence. Across seven albums since 2019, he has built a world of pop-rock, classical sensibility, singer-songwriter intimacy, comedy, storytelling and sophisticated chord turns, and Jesus Night at the Britestar sits among his most gloriously peculiar works. It visualises the kind of transcendence you feel after finding redemption somewhere strange, neon and spiritually sticky.

Whatever Pierre Englebert does next, we’re convinced it will show us another kind of light we’ve never witnessed before.

Jesus Night at the Britestar is now available to stream on all major platforms, including Spotify. 

Review by Amelia Vandergast

Johnny B Interview: Meet the Greek God of Dark Americana

In this exclusive interview, breakthrough artist Johnny B spoke from the point where survival starts feeling too close to sleepwalking, and revealed how This Is Your Life became a renegade sonic awakening. The independent Greek artist built the single around authenticity, self-responsibility and the refusal to follow trends just to fit into an industry that rewards imitation. He opened up about the personal epiphany behind the track, the cinematic alt-rock and dark Americana atmosphere shaped with Daniele Macchi, and the blues-rooted honesty that runs beneath his writing on love, inner struggle, confession and hope. He also reflects on building his path step by step, from acoustic performances to international promotion, while shaping a darker, more filmic future.

This Is Your Life feels like a song written from the exact moment someone realises they have been sleepwalking through their own days. What first sparked that epiphany for you?

I think it came from a period where I realised I was living more on autopilot than with real intention. I was doing what I had to do, surviving the day, but somewhere inside I knew I wanted more honesty, more freedom, and more meaning. This Is Your Life came from that moment of waking up and saying: if this is my life, then I need to take responsibility for it and stop waiting for permission.

The track carries a dark Americana shadow with cinematic alt-rock kinetic energy. What drew you towards that scorched, brooding sound for a song about authenticity and taking control?

That darker sound felt very natural to me because the message of the song is not light or decorative. It is about facing yourself. I wanted the music to feel like a road at night, something raw, cinematic and a little dangerous, but still full of movement. I love rock, blues, Americana and that emotional heaviness where the sound feels human, not perfect. For me, that atmosphere made the message stronger.

You’ve said the single is about refusing to follow trends just to fit in. As an independent Greek artist, how difficult is it to protect your own identity when the industry keeps rewarding imitation?

It can be difficult, because when you are independent, you sometimes feel pressure to sound like what is already working. But I also believe that identity is the only real thing you have as an artist. I am Greek, I have my own accent, my own background, my own struggles, and I do not want to hide that. Trends change all the time, but if you build something honest, people can feel it. I would rather grow slower with my own sound than move faster by becoming someone else.

The lyrics feel direct, almost like a confrontation with complacency. Were you writing to yourself, to someone else, or to anyone who has started confusing survival with actually living?

Mostly I was writing to myself. But when a song is honest, it becomes bigger than you. I think many people reach a point where they realise they are just getting through life, not really living it. So the song is like a conversation with myself, but also with anyone who feels trapped in routine, fear or expectations. It is not written from a place of judgment. It is more like a wake-up call.

Working with Daniele Macchi clearly gave the track a strong atmosphere. What did that collaboration bring out of the song that may have stayed hidden otherwise?

Daniele helped bring out the cinematic side of the song. The original feeling was already there, but he understood how to build the atmosphere around it and make it feel bigger without losing the raw emotion. He gave the track space, tension and depth. I think he helped the song become more like a scene from a film, not just a rock track.

There is a real blues and roots current beneath the rock intensity. How important is that raw, human foundation to the way you write about love, inner struggle, confession and hope?

It is very important. I am drawn to music that feels human, even when it is imperfect. Blues and roots music have that honesty. They carry pain, love, hope and confession in a very simple but powerful way. I try to write from that place too. Even when the sound becomes heavier or more cinematic, I want the heart of the song to stay raw and real.

You’ve been building everything step by step, from acoustic live performances to international promotion. What has staying independent taught you about resilience and self-belief?

It has taught me that you cannot wait for everything to be perfect. You have to start with what you have and keep moving. Some days you feel confident, other days you question everything, but the important thing is to continue. Being independent means you have to believe in the song before anyone else does. It has made me stronger, more patient, and more connected to why I started making music in the first place.

With This Is Your Life now out in the world, what kind of live shows, acoustic sessions or future releases do you want to build around this darker, more cinematic side of Johnny B?

I want to build a world around this sound. More acoustic sessions, more intimate live performances, and songs that carry that same cinematic, honest energy. I like the idea of combining dark rock, Americana, blues and storytelling in a way that feels personal but also powerful live. This Is Your Life feels like the beginning of a direction I want to explore deeper with future releases.

If you’re yet to hear This Is Your Life, dig in on Spotify. 

Interview by Amelia Vandergast

Rose Pedal’s How Did I End Up Here? Turns Indie Pop Uncertainty into a Sci-Fi Western Fever Dream

How Did I End Up Here? A question we have all undoubtedly asked ourselves countless times before. Rose Pedal pose it into a spacey, adrift atmosphere on their latest single, tinged with psychedelically cosmic experimentalism, uniting us through collective bafflement while tearing through the myth that everyone around us has life figured out.

After a Tarantino-esque intro that would make any Texan spaceman feel right at home, How Did I End Up Here? nestles into an atmosphere that enmeshes sci-fi sonic insignia with tenderly consoling reverberations. Echoes of The National drift through the emotional architecture before the track takes an interstellar turn and broadsides with a fiery spoken-word rap verse.

The Ohio-born indie pop trio, made up of a producer, a singer and a rapper, live at the intersection of organic and digital, where acoustic hues of intimacy bleed warmth into layers of electronica. Their sound carries the synth-pop gloss of Miike Snow and the grungy, lyrically driven oddness of Gorillaz, yet Rose Pedal remain entirely their own strange organism.

Rose Pedal is exactly the kind of artist capable of pushing experimentalism into the mainstream. The commercial potential of this seminal single belies its refusal to contort authenticity into archetypal aural monotony. Even outside of the orbit of most contemporary indie artists, they’re effortlessly accessible, endlessly charismatic and infinitely playlistable.

How Did I End Up Here? is now available to stream on all major platforms, including YouTube and Apple Music.

Review by Amelia Vandergast

Johnny spat out the poison of complacency in the Mediterranean alt-rock shadows of ‘This is Your Life’

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Johnny B brought the Mediterranean’s scorched intensity into dark Americana with This is Your Life, a cinematic alt-rock release created in collaboration with Daniele Macchi. After the Greek alternative artist unleashed the track, a parallel world where Nick Cave soaked up the sun-dazed pressure of the coast and baked it into his dark, snarling sessions of alt-rock alchemy suddenly felt dangerously easy to picture.

Penned around the epiphany that we sleepwalk through stale days without awareness of the sands of time slipping around us, This is Your Life is a sobering full-frontal allegory that refuses to pull its lyrical punches. Instead, it amplifies them through the shadowy intensity falling over this revolutionised reckoning of rock, turning self-awareness into something sharp enough to bruise.

With artful textures pushing the single beyond classic rock territory while keeping the core direct enough for long-standing rock devotees, Johnny B delivers a track capable of carrying the results of ennui into a cross-generational audience. The crossover appeal is as fierce as the thematic core of this sermon on the poison of complacency.

This is Your Life is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast

Cody Hyde – Final Ending: a Metalcore Juggernaut with Stadium-Sized Survival Scorched Through It

Stadiums should be scrambling to prepare themselves to host Cody Hyde, a revolutionary of metalcore and hard rock fusionism whose ability to augment overdriven amplification feels seemingly infinite. His latest release, Final Ending, featuring Marko Duplisak, is a harbinger of melodically juggernautical visceralism, reinforced with the kind of raw emotion that hits hard enough to leave you with a concussion.

Resonating as a refusal to sink into the clutches of absolute nihilism, Final Ending becomes an exposition of how we will meet final endings in our lifetimes, but none except the final ending deserves apathy. Cody Hyde turns that premise into a full-throttle statement of defiance, placing melodic hooks beside blast beats, serrated guitars, and Lamb of God-esque screamo vocals that tear through the verses with razor-sharp teeth.

For fans of Bullet For My Valentine, Metallica, and Five Finger Death Punch, the single carries the scale, muscle, and melodic instinct of arena-ready metal. Hyde, a guitarist and composer from Milaca, Minnesota, has been building towards his second studio album, Songs For the Broken, with tracks rooted in personal struggle, toxic relationships, and a broken world. Here, the soaring hard rock choruses hook themselves inside your throat while riffs strut as salacious guitar porn, making ambivalence impossible.

Final Ending is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Carl Krausnick became a cosmic conduit of the purity in humanity with his sticky-sweet slacker jam, Handle with Care

Carl Krausnick

Carl Krausnick’s Handle with Care tears a strange, celestial hole through the alt-indie ceiling, arriving as the kind of artful slacker-psych jam that makes Wayne Coyne’s cosmic harmonies feel like part of the same far-off constellation. After a soaring rock-opera-esque guitar riff throws the electricity of amplification into a distorted psychedelic kaleidoscope, the track slips into an arrangement swimming with the cerebral care of Radiohead, the endearing wonk of Grandaddy, and a tinge of The Beatles in their most mind-altering era.

Krausnick handles each transition in sound in the way the metaphysics behind alchemy could explain, turning fractured guitar textures, warped pop structures, and emotionally off-kilter songwriting into something oddly pure. The Memphis-based indie psych artist, fresh from his debut LP, Dining Companion, pushes deeper into art-rock terrain here, letting Handle with Care feel loose, lucid, and spiritually aerodynamic all at once.

The Flaming Lips, early Stephen Malkmus, Radiohead, and Grandaddy hover as useful coordinates, yet Krausnick’s signature reaches somewhere stranger than reference points can contain, with genuine cross-over appeal. If humanity ever needs to negotiate with beings from another planet, I’m voting for Carl Krausnick as our ambassador; there are few people better equipped to exhibit the beauty and purity human minds are capable of.

Handle with Care is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast

The Unsuited’s Eponymous Post-Hiatus Debut is What Rock Veterans Kicking Down the Doors and Reclaiming the Airwaves Should Sound Like

Stone Roses-esque basslines, the arcane darkness of Sisters of Mercy reverberating through the harbingering vocals, the cutting angular guitars of Arcade Fire, and renegade-level overdriven amplification root Unsuited firmly in the pantheon of prodigal sons of rock. The eponymous comeback single from The Unsuited spellbinds the way post-punk-leaning rock only can, giving guitar music back its former serrated conviction.

Through anthemic choruses that give full permission to unapologetically relinquish yourself into 80s rock nostalgia, Unsuited carries the visceral power of Alice Cooper’s Poison while giving the legacy of eclectic indie styles a chance to thrive on the airwaves once more. The riffs swell and lift with stage-tested authority, the hooks are razor-sharp, and the whole release feels engineered by musicians who understand sweat, setbacks, and studios.

With Iain Stew Brownlie, Howard Moth, Stu Englefield, Jo Line, and Tim Dorney, whose Republica and Flowered Up history brings serious pedigree and a sense of swagger that can be assimilated but rarely authentically alchemised by bands only arriving on the scene today. The five-piece of 50-year-old spits in the face of ageism in music and the way the industry has so eagerly, with its capitalistic hunger, devoured AI music.

In all honesty, I rarely think AI could fail so completely at replication, yet it has no chance at mimicking anything in the authentically ingenious, evocatively hard-wired signature of The Unsuited.

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

Review by Amelia Vandergast

‘Welcome to This Murder Night’ Saw Djamesk13 Paint Macabre Psychedelic Noir Alt-Rock in Red

djamesk13’s discography has always been sludgy, yet on Welcome to This Murder Night, his arsenal of lo-fi krautrock hits becomes cloaked in a darker, more cinematic fever. The independent UK singer-songwriter and instrumentalist pushes macabre alt-rock into a delirious noir theatre, thematically and lyrically channelling the snarling charisma of Nick Cave while sonically revolving around the transcendently obscure indie textures tied to Pixies.

Released as a Psycho Killer alternative, Welcome to This Murder Night brings poise and panache to murder-ballad territory, letting the guitars crawl, leer, and lurch through the room. The production carries a basement-lit menace, all warped edges, uneasy momentum, smoke-stained minimalism, and midnight-black humour, while djamesk13 keeps the vocal presence close enough to feel incriminating. His storytelling turns obsession into scenery; the lyrical protagonist’s emotions stain the frame until visuals become as forceful as the desire to paint in red.

The cinematic narrative running through the delirious discordance would make David Lynch proud, especially in the way mundane space starts to feel cursed once the track’s tension takes hold with predatory elegance.

Welcome to This Murder Night is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast

Larsen West Carried Stevie Nicks Aura and Riot Grrrl Voltage Through the Brashy Rock Contours of Fool’s Gold

Larsen West’s indie rock stripes show as more than just accolades in an EPK in Fool’s Gold, an expansively lush, viscerally unfeigned single where big, brashy vintage rock swagger collides with noir-Americana shadow and art-punk voltage. Fronted by Lauren Warner, former vocalist of Austin Chronicle’s 2022 Best Rock Band winners The Dead Coats, the project arrives with history, force, and a voice built for myth.

West’s vocals encompass the vindication of 90s Riot Grrrl and grunge while keeping the performance far from hollow pastiche posturing, turning Fool’s Gold into the kind of kinetic, stadium-ready anthem that leaves the power of the lyrics soaring through your own ribcage as something inside catches fire to the cascades of rock n roll euphoria; they come in waves. The classic rock guitar solo in the middle eight sends the track into a spiral of molten release, lifting the analog warmth into full-bodied catharsis.

Recorded at Point West Studios with Charles Godfrey, whose credits include Yeah Yeah Yeahs and Brand New, Fool’s Gold carries the bite of underground rock with the scale of Stevie Nick’s legacy, the raw magnetism of Courtney Love, and the haunting grace of Siouxsie Sioux.

Fool’s Gold is now available to stream on all major platforms, including Spotify.

 Review by Amelia Vandergast