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Instrumental

Contrasts Collide: The Eclectic World of ‘Abyssinian’ by The Soft Parts

Posted on 20 January 2025

With abyssinian, the standout single from their sophomore album, The Soft Parts unfurled a texturally intricate sonic tableau which refuses to settle into predictability.

Opening with cinematic neo-classical grandeur, abyssinian invites listeners to stroll through the golden age of film scores, before the chill of avant-garde influences begins to weave through the organic warmth of the basslines. Playful polyphonic keys soon take centre stage, creating a delicate tension as each instrumental element works in purposeful juxtaposition to the next. When the neo-classical keys return with greater tenacity, they anchor the composition, ensuring it never spirals into abstraction despite its eclecticism.

The Soft Parts, the project of a Houston-based composer and sound artist, brings together a unique palette of influences spanning classical music, art rock, cocktail jazz, and lounge music. These influences shaped abyssinian into what could best be described as funk-inflected art pop, dipped in the moody magnetism of New Tango and Arab musical textures.

abyssinian pulls listeners into its orbit, making them feel the landscape of its creation as it swaggers, scintillates, and soothes in equal measure. If you want to stray away from sonic monotony, hit play.

Abyssinian was officially released as part of The Soft Parts’ sophomore LP, innuendo, on January 3rd; stream the single on all major platforms, including Spotify, now.

Review by Amelia Vandergast

Martin Packwood narrated a ‘Suburban Story’ with his cinematic instrumental rock panorama of ambience, awe and raw emotion

Posted on 20 January 2025

Martin Packwood’s Standout 2024 single, Suburban Soundscape, paints with sound rather than strokes, proving words aren’t always necessary to articulate raw emotion.

The Birmingham-born composer and instrumentalist, who rediscovered his creative spark after years away from the scene, channelled decades of experience into a dynamic instrumental track that balances nostalgia and innovation with unflinching precision.

The track opens with a pulse of 80s-inspired atmospheric reverb, gently coaxing listeners into its cinematic ambience. Then, angular guitar notes slice through the backdrop of shimmering synths, setting the stage for orchestral strings to swell and stir. Packwood’s love for rock is unmistakable as the guitar tones build with a classic fervour, only to be softened by meditative electronic motifs that tether the record to a state of hypnotic tranquillity.

The arrangement defies the boundaries of rhythm, offering a panoramic experience that shifts between introspection and awe, creating a sonic environment where stillness and movement coexist.

Packwood, who cut his teeth as a teenager playing across Birmingham’s live circuit, clearly honed his craft across genres ranging from heavy rock to jazz. After shelving his guitars to focus on family and career, the COVID lockdown gave him the space to build his own home studio and reconnect with his creative roots. That rekindled passion radiates throughout Suburban Soundscape.

Suburban Story is now available to stream on all major streaming platforms, including SoundCloud.

Review by Amelia Vandergast

Interview: Bruce Cohen on Ambient Explorations, Creative Evolution, and Synth-Centric Collaborations

Posted on 7 December 2024
Bruce Cohen

Bruce Cohen continues to redefine the boundaries of electronic music with his evocative and introspective soundscapes. In this interview, Cohen opens up about his latest ambient album, 8 BC, a deeply personal project shaped by improvisation and reflection. He discusses the influences of his medical journey, his connection to Miles Davis, and the innovative process behind his next album, 9 BC. With insights into his film scoring for Manhunter, his career with The Reds, and his recent synth collaboration, Birdhouse Invitational, Cohen showcases his dedication to pushing musical boundaries while staying grounded in authenticity.

Bruce Cohen, we loved discovering you through your latest album, 8 BC. Could you tell us a little more about the creative inner workings and ambitions behind it?

When it was time to work on 8 BC, I decided to try making it a lot different from my previous albums. So, where my other BC albums had a variety of electronic explorations, 8 BC went full ambient. No percussion or drums, making it my most personal endeavor.

There aren’t many artists who can disarm an audience with electronica compositions which are as unsettling as they are cathartic, did this happen organically as you weaved the synth lines into melody?

Everything I do is total improvisation. Nothing is thought out or written down beforehand. All I knew was it would be an ambient project. The music dictates where I go with it. Now, I will say that this year, I had a medical crisis, and I was lucky to be around to see 8 BC finish. So maybe, unconsciously, I was more reflective than I’ve been with my earlier albums. The melodies come to me while improvising, and melody-wise, Miles Davis is a big influence on me. The video for track 3, Dance of The Siren, provides a short glimpse of my creative process. A mini-documentary, if you will.

It’s fascinating to hear your sound evolve through your LPs in an almost linear fashion as though you are marking personal aural epochs; are your motivations and inspirations as in flux as your sound?

Each album is approached differently from the last. The earlier ones were pretty much experimental, but as I went from album to album I got more daring and didn’t worry about the outcome. Also, as I progressed from album to album, I used different synths on each one for inspiration. As I’ve grown as a musician and a human so has each album.

With every album it almost appears that you are travelling through sound in the same vein as someone discovering the world by stamping their passports and finding themselves in the process. Does your writing, composing and producing process feel reflective?

Especially so with 8 BC. My previous albums were approached as if I was recording an album if that makes sense. At the time, I was reflecting on my life, so 8 BC became more of a confessional. Once I got the sound that I wanted, the music just flowed out of me. Each album has been an exciting and strange journey, and I hope when one listens to my music it takes them on their own journey.

With your next album, 9 BC, already in the making, can you give us an inside view into the innovations and expressions you hope to make with this release?

All I can say for 9 BC is I’ll be using synths that I haven’t used before. It’s probably a year away for that one, so who knows what it will become. I have started recording some tracks and 9 BC may even become a continuation of 8 BC. As I mentioned, the music dictates where it will all go.

How have writing scores for theatre productions shaped your solo projects?

Scoring for theater productions helped me with discipline and playing to a scene. Playing in The Reds shaped me the most doing solo work where I was more like an Eno to the rest of the band, especially in the later albums with composing mate, Rick Shaffer. And, of course, working on Manhunter was a great catalyst.

Would you consider scoring the film Manhunter, directed by Michael Mann, the zenith of your film composing career?

It was an amazing time when Rick and I worked on Manhunter.  I think we would agree it was a highlight of our music careers. We both love motion pictures, so scoring for a film was the ultimate experience, especially working so closely with Michael Mann. Actually, working on Manhunter was probably my main inspiration to create solo projects.

You’ve made some massive waves in The Reds, what was the highlight of your career as part of this project, and can you confirm if the rumours are true and there’s a new EP in the works?

Yes, The Reds had some great highlights, but for me, Manhunter was the top one. We recorded half the score in NYC, then the remainder in LA on a scoring stage with Michael Mann.  Mr. Mann has the highest respect for musicians, so you really couldn’t ask for anything better. As far as new releases by The Reds, it’s possible that instrumental tracks Rick and I recorded in between earlier Reds albums may end up being released as an EP. The big hindrance is always Rick and I being able to sync our schedules.

What can your fans expect from your new performance project, Birdhouse Invitational?

Birdhouse Invitational is the brainstorm of Jeff Cain (The Ghostwriters) a great synth player who invited me to play with four other synth players, collaborating in a Philadelphia studio jamming on two pieces. One was producing bird like sounds, and turning them into something musical. The second was an all-out synth jam. Each person had a different synth and playing approach. It was a blast to work on and, hopefully, we’ll do a live performance sometime next year.

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Stream Bruce Cohen’s latest album on Spotify and connect with the artist on X and Instagram.

Interview by Amelia Vandergast

Ennoverse – OOT: Electrifyingly Eclectic Dub-Heavy Downtempo

Posted on 22 October 2024

In his debut single ‘OOT‘, the up-and-coming Aotearoa, New Zealand-raised artist and producer Ennoverse stitched his eclectic past into the very fabric of the entrancing instrumental while embracing his unique sonic identity.

OOT pays ode to the electronic pulses of Ratatat and Pitch Black, the disco grooves of Lindstrom, the classical arcs of Rossini and the raw hip-hop energy of The Beatnuts and Cypress Hill. Fusionism fuels the downtempo, dub-heavy beats of ‘OOT’, a track that nods to the pulsating aesthetics of the ’90s rave scenes and innovates with a modern twist.

His use of phasers, strobing synths, and reverberant basslines crafts a space where the listener is compelled to engage their rhythmic pulses and reflect in equal measure. Each element is ingeniously constructed, resulting in an instrumental that drips with funk and electrifies the senses.

While ‘OOT’ is just the beginning, it’s a powerful glimpse into what might come from Ennoverse.

OOT was officially released on October 11; stream the single on SoundCloud now.

Review by Amelia Vandergast

Chenzo joined the guitar greats with his instrumental score, The Greatest Adventure

Posted on 20 October 2024

Chenzo’s latest instrumental guitar single, The Greatest Adventure, is a dualistic triumph, an exhibition of technical skill, simultaneously standing as a testament to resilience. After a career nearly severed by hand surgeries, Chenzo returned from the brink to deliver a sound that fuses the intricacies of math rock with the timeless energy of classic rock, proving he’s earned his place in the riff-master pantheon.

The Greatest Adventure cathartically awakens your rhythmic pulses as the interwoven notes defy conventional time signatures while melt-worthy progressions strip the weight from your soul. The expansive soundscape surges with energy, punctuated by drum fills and bursts of momentum that give the track its pulse. Stick with the score, and you’ll be treated to riffs that echo the greats of the genre—proof that Chenzo’s shredding skills haven’t just endured, they’ve evolved.

Years of recovery have refined his sound, allowing for a more structured, concise approach to songwriting. No longer limited to shredding for shredding’s sake, Chenzo’s music now affectingly resonates through melodies that resolve with the clarity of a vocal line, creating a connection beyond technicality.

Stream the official music video for The Greatest Adventure on YouTube now.

Review by Amelia Vandergast

Andrew Muntt illustrated the beauty of transience in his neo-classical piano composition, Upstairs & Downstairs

Posted on 22 September 2024
Andrew Muntt

Andrew Muntt, in his latest composition ‘Upstairs & Downstairs’, invites listeners into a world of gentle contrasts and profound subtleties. The neo-classical composer wields the piano notes as a delicate raconteur; with one of the deftest touches in today’s classical landscape, his composition wordlessly interweaves tender optimism with evocative intensity, and nothing is lost in translation.

The piano chords cradle the listener, providing a space to nestle between each note. These brief yet all-enveloping moments of contemplation allow the audience to linger in the ephemeral beauty of our stark reality of transience.

Since his graduation, after studying Music Composition from Barcelona, Muntt has explored the intricacies of sound, initially under various electronic music aliases and now through the piano’s keys. His compositions, though complex, advocate for simplicity and subtlety, inviting listeners to tune into what already resides within them.

In his latest composition, the Spanish artist infuses his cultural roots with a discernible richness that resonates through each note, reflecting the serene landscapes around him. His works, ranging from video game scores to YouTube compositions, reveal a versatility that speaks volumes of his ability to connect with a diverse audience.

Upstairs & Downstairs was officially released on September 20; stream the single and connect with Andrew Muntt on all major platforms via this link.

Review by Amelia Vandergast

Michael Kanyongolo followed his muse instead of the herd in his alt-dance track, Justice

Posted on 7 September 2024

Brooklyn-based electronic music producer Michael Kanyongolo obliterated the EDM mould with his 3-track release, MK, featuring the seminal single, Justice.

In a track that pulses with an electro heart, Kanyongolo injects licks of funk delivered by rolling bass guitars to deepen the groove, creating progressive rhythms that play with complex time signatures, flirting with the Avant-Garde.

As the track unfolds, the heavy, dark, and reverberant phasers cloak the mix with an ominous, almost cinematic feel. The sound design isn’t just on another level; it’s in an entirely different orbit. Kanyongolo’s interstellar mix is one you can get endlessly lost in as the interplay between the layers brings ever-deepening textural depth and scintillation.

The auditory slice of ingenuity established Kanyongolo as an artist you can always expect the unexpected from. His inspiration from electronic icons like Daft Punk and Justice is clear, but it’s his signature synthesis of adventurous production techniques that make him worthy of a space on your radar.

Stream Justice on Spotify now.

Review by Amelia Vandergast

Mercy Vibe alchemically occupied the rock scene with her instrumental track, Peaceful Med

Posted on 5 September 2024

Mercy Vibe may be a nascent presence on the rock scene, but her seminal instrumental single, Peaceful Med, established her as an artist worthy of adoration.

The Midwest-originating artist’s background in traversing genres and her adventurous approach to music production pull through with veracity in this track, which subverts conventional guitar-led instrumental pieces by defying expectations with cultivated use of special effects. You could hear a pin drop in the production which creates a palpable tension and anticipation for each successive note.

Mercy Vibe doesn’t just set a mood with her work, she commands it with the guitars which act as a narrative force in the expansive sonic space. Yet, it is the percussion that truly energises the track, delivering bursts of intensity that ensure the listener’s engagement never wanes.

With Peaceful Med, Mercy Vibe made it clear she is here to innovate and inspire. Save a space on your radar for her future releases which are in the pipeline.

Stream Peaceful Med on YouTube now.

Review by Amelia Vandergast

Interview with Finger-Style Guitarist Samaël: Exploring the Ancient Civilizations and Contemporary Acoustic Landscapes in ‘Cascadia’

Posted on 4 September 2024

In this interview, we sit down with finger-style guitarist Samaël to discuss his upcoming LP, Cascadia, set for release on September 5th. Samaël shares the mind-bending concept behind the album, which tells the tale of a lost ancient civilization and its lingering entity which lurks through the modern ages.

We also explore his unique creative process, the challenges of being a solo instrumentalist, and how he’s evolved as a musician since his debut album, Shadow. Samaël reflects on the balance between technical skill and emotional storytelling, offering insights into the future of his music career.

Samaël, welcome to A&R Factory! Thanks for sitting down with us to discuss your upcoming sophomore LP, CASCADIA, which is due for release on September 5th. What’s the concept of the LP, and what kind of sonic world does the album open up to listeners? 

The concept of the LP Cascadia is the storyline of an ancient civilization that we lost a long time ago. I’m not saying that’s a true story. I’m just saying that’s a story that inspired me a lot to write this album; the only remnants left of that civilization is an Entity that roams the earth to this day, trapping modern souls in his grip.

This is the storyline that you’ll be able to see in the music video trilogy; part one came out in July. Part two, The Mask, will come out on August 30. So, basically, this new album is a contemporary solo acoustic album which blends minimalism and metal into a fingerpick style.

Can you walk us through the creative process of composing the pieces?

Sure, so basically, I took a drastically different approach to the last album. I composed on software without the guitar in my hand because I felt at that time that my compositions were getting predictable and that I was starting to be stuck in a mould if you will and I didn’t feel like I had my sound yet.

So, I composed something that was purely off of my ears and I was not limited by what I could do or not do technically on the guitar and so that was a creatively rewarding process. However, the problem is that you have to learn the pieces and the more you get ambitious during the composition phase the harder it is to learn and perform them because they become so weird technically for the physical movements of how to play them if that makes sense

Does being a solo instrumentalist feel isolating at times? 

No, not at all, I played in a band for 10 years in Montreal before embarking fully on my finger-full project. There are positives and negatives of being in a band and being a solo musician but what I specifically love about being a solo artist is the independence, autonomy, and full control I have over the creative process. However, solo projects can often feel like a mountain of work that I have to scale alone, but apart from that, I like it, I like his approach.

What other challenges does being a solo artist present? 

I think for me the biggest challenge is what I just hinted at. It’s trying to manage the musical project as a label would as best you can. I compose the music, learn the pieces and practice them to perform live – it can be a lot! I also promote the shows, run marketing campaigns, manage my social media pages, and reach out to publications, so it’s difficult to make sure I don’t forget anything and I am giving myself the best chance possible.

You’ve got an incredibly intricate guitar style, how immense is the pressure to execute each composition flawlessly while playing live? 

Thank you. The pressure was at its highest when I started playing live solo shows. I have played in bands for years, but anyone who has played solo knows that playing in a band and playing by yourself is a whole different experience on stage and you feel you really feel naked. If you’re playing in a band and you make a small mistake on guitar often it does not show, it’s not obvious to the crowd because there are other instruments in the mix, but when I’m by myself, every little detail is heard and missed notes can’t be forgiven. That kind of pressure forces you to really up your game, but I have been doing this for several years at this point so I would say that I am reaching a point of confidence.

Who are your main influences as a guitarist and composer? 

I have a lot to name, but the first artist that pops to mind is Erik; I will be getting the chance to play a concert this summer with him and Antoine Fool as a trio. His music made a huge impact on me years ago; he taught me that sometimes there’s a visual dimension to the music.

As a composer, it’s easy to get carried away with technical aspects, and I speak from personal experience. When I was younger, I often found myself focusing too much on the visual or technical side of things, rather than the core reason we create music—the sound, the emotion, and the story it conveys. I remember hearing a piece for the first time and realising that the musician wasn’t trying to show off his technical prowess, even though he was incredibly skilled. Instead, he was focused on communicating a story with deep emotion through his guitar. That had a profound impact on me. It taught me that sometimes the simplest actions, like playing just two notes, can be more powerful than any technical display. The key is not letting your ego interfere with your creative process.

Your debut album, Shadow, was released in 2018, how have you spent the years between your two LPs? 

Well, Cask took a lot longer to finish than I had anticipated so that definitely took a lot of time but since 2018 a lot has happened since then, when I finished my master’s in musicology in Montreal, I moved back to where I come from in New Brunswick and started working at a music school there; that was my first real experience in the job market after being a full-time student. I also took a lot of time to try to own certain skills that I felt were lacking like, for example, music recording, video editing, and other skills which are really important for a self-employed musician.

What else does the future have in store for Samaël? 

Well, I have several things in mind, I will see how things unfold but just to give you a little glimpse, there won’t be another solo finger-style album in the future. But as I mentioned earlier, I got carried away in the composition process, and when it came to time to learn those pieces it was clear that we needed to retreat to actually learn them because there’s so much going on in the music just for one person. Apart from that, I’d like to start another album with some other artists.

Stream the official video for Samaël’s latest single on YouTube.

Follow Samaël on Facebook, Instagram & TikTok.

Interview by Amelia Vandergast

French Film Noir Meets Classical Piano in Hayley Morton’s Piece of Instrumental Literature, One Night in Budapest

Posted on 29 August 2024
Hayley Morton

With classical piano progressions which unravel like the confessions of a romance novelist, each note is a page turned in the latest composition, One Night in Budapest, by Hayley Morton.

The intimately introspective atmosphere of the delicately arranged peace succumbs you into its quiescence which scintillates the shadowy intrigue and existential reflections of French film noir with teasings of excitement to ease the tension and allow One Night in Budapest to resound as a distant, fading dream immortalised through a classical score.

The Brighton, UK-based pianist and composer released her debut album, Seascape, to critical acclaim in 2022; with this narratively affecting single, she re-emerged and reaffirmed her position as one of the most eloquent agents of instrumental literature.

One Night in Budapest is now available to stream on SoundCloud.

Review by Amelia Vandergast